FEATURE: I Know That I’ve Imagined Love Before… Massive Attack’s Unfinished Sympathy at Thirty-Five

FEATURE:

 

 

I Know That I’ve Imagined Love Before…

 

Massive Attack’s Unfinished Sympathy at Thirty-Five

__________

RELEASED as the second single…

from the band’s second studio album, Blue Lines, Massive Attack’s Unfinished Sympathy turns thirty-five on `11th February. Written by members Robert ‘3D’ Del Naja, Andrew ‘Mushroom’ Vowles and Grant ‘Daddy G’ Marshall, the track’s vocalist Shara Nelson and the group's co-producer Jonathan ‘Jonny Dollar’ Sharp were also writers. It is a classic that is the standout from Massive Attack’s 1991 album. In July, Music Radar told the story of Unfinished Sympathy. A title that started as a joke, it was kept because it fitted the song perfectly. Massive Attack writing a song for the heart rather than the feet, Unfinished Sympathy was a perfection fusion of chilled-out and euphoric. Something that propelled the Bristol music scene to the world:

“The musical climate that forged the Bristol sound can be traced back to 2 April 1980, when police raided the Black and White Cafe in the heart of the St Pauls area of the city. The heavy-handed tactics of the police became a flashpoint, sparking a riot, fuelled by community grievances, racial tensions and the government’s controversial ‘sus’ laws.

The outpouring of anger from the St Pauls community took the police by surprise and they were soon outnumbered. In the aftermath of the riot, the police gave St Pauls a much wider berth and this created a climate where communities would come together through impromptu street parties, with custom-built sound systems.

These sound systems provided the musical backdrop to inner city Bristol and would become a unifying force for young people, regardless of their skin colour.

“Sound system culture was all about DIY,” said Roni Size in a 2016 BBC documentary Unfinished: The Making Of Massive Attack. “It was about learning how to string up amps, how to cut the wood, how to load the speakers onto the van properly, even [learning] how to drive a big HGV lorry down the narrow roads in St Pauls.”

The sound system culture shared a DIY ethos with punk and there was one seminal post-punk Bristol band, The Pop Group, that would have a huge influence on development of the Bristol sound.

The Pop Group’s sound was aggressive and avant-garde, incorporating elements of funk, free jazz, and dub. Their tours took them to New York, where they became entranced by the emerging hip-hop culture.

“We were virtually living in New York,” recalled former singer and founder Mark Stewart in the Unfinished documentary. “Suddenly, somebody says there's a really cool radio show on this thing called Kiss FM and WBLS.

“We used to have big ghetto blasters of double cassette machines back in the day. We copied these tapes, brought them back to Bristol. Copied, copied, copied.

“3D would draw on them. Suddenly, everybody was getting into hip-hop in Bristol. London was not even aware of it.”

By the mid-’80s, the Bristol scene was thriving and its epicentre was the now legendary Dugout club, in the city’s Park Row, where the Wild Bunch performed a regular slot and dominated the Bristol club scene.

In 1988, Massive Attack was created as a spin-off group from the Wild Bunch and featured Daddy G, Mushroom, 3D and, in the early days, Tricky.

3D had been a co-writer on Neneh Cherry’s song Manchild.

Along with her husband, singer, songwriter and producer Cameron McVay, Cherry would help Massive Attack to record Blue Lines, which they started work on in 1990.

“One of the things that made Massive Attack into the phenomenon they were was meeting and knowing Neneh Cherry and Cameron McVay,” said Sheryl Garratt, former editor of The Face. “They supported them financially and gave them lots of resources and really encouraged and nurtured their talent.”

Cherry also injected the drive necessary to cut through the chilled-out languor of the Bristol scene.

For all their talent, Massive Attack were not driven by ambition or any desire to be celebrities.

“We were lazy Bristol twats,” Daddy G told writer Ben Thompson of The Observer in 2004. “It was Neneh Cherry who kicked our arses and got us in the studio.

“We recorded a lot at her house, in her baby's room… what we were trying to do was create dance music for the head, rather than the feet. I think it's our freshest album, we were at our strongest then.”

By then, the sound that music journalist Andy Pemberton would define as ‘trip-hop’ in the June 1994 issue of Mixmag magazine was taking shape, a melding of New York hip-hop with homegrown dub, soul, funk, jazz and electronica, and all imbued with an achingly melancholic and laid-back feel.

This was the sound that would distinguish Blue Lines and would first come to prominence on Unfinished Sympathy, released as a single two months before the album.

“Blue Lines kind of had this impact where they recognised Bristol having a sound,” recalled Roni Size in Unfinished. “It was that underlying sub-bass from the dub. It was the breaks from hip-hop and the two gel together. It just summed up the culture and I think Massive Attack really tapped into that.”

Once Mushroom, Nelson and producer Dollar had worked up the basis of Nelson’s vocal melody and lyric, Massive Attack worked on the song during a jam session.

The song’s title, Unfinished Sympathy – a pun on Franz Schubert's 1822 Unfinished Symphony No.8 in B minor – was decided that same day.

“I hate putting a title to anything without a theme,” said Robert Del Naja in Select magazine in 1992. “The title came up as a joke at first, but it fitted the song and the arrangements so perfectly, we just had to use it.”

The song’s arrangement incorporates scratching and drum programming from Mushroom.

Chilled hip-hop beats set the tone and there is a percussion break sampled from jazz trombonist, composer and arranger JJ Johnson’s 1974 instrumental Parade Strut.

One major decision taken in the early stages of the song was to use a real orchestra on the track.

“The synth sounded too tacky,” Mushroom told writer John Robb of Sounds in 1991. “So we thought we may as well use real strings.”

Dollar contacted the music producer Wil Malone (who had worked on Iron Maiden’s debut album in 1980) to arrange and conduct the strings, which were recorded in Studio Two at Abbey Road Studios, London.

A 42-piece orchestra was hired to perform the surging string arrangement. Dollar had instructed Malone to “do what you feel like” with the string arrangement.

“My approach for Unfinished Sympathy was that it’s a really open track,” Malone told Uncut magazine. “Basically it’s just a groove – keyboards, and a great vocal by Shara Nelson – so you just let it drift, just let it chill.

“With most string arrangements that I do, the strings are ‘put back’ in the mix. In other words they are so quiet you don’t really hear them, or they’re mixed up, so that you can just hear the top lines.

“But on Unfinished Sympathy, the strings are exposed. You can really hear them and I think that makes soething different.”

Vowles told John Robb of Sounds that the orchestra “were really good [but] it took them about five takes to do it because they were slightly behind the beat”.

The orchestra is a haunting and enigmatic addition to the song.

Unfortunately, as Massive Attack never set out to use a full orchestra on the album, they hadn’t budgeted for it. Mushroom had to sell his car – a Mitsubishi Shogun – to cover all the hiring costs for the orchestra.

One surprising aspect of Unfinished Sympathy is that there is no actual bassline on the original album version of the song.

The bass is provided by the orchestra.

Unfinished Sympathy was released on 11 February 1991, in the midst of the Gulf War.

On the advice of their record company and management, the group dropped the word ‘Attack’ from their name, to allegedly prevent the song being banned by the BBC, releasing the track simply as ‘Massive’.

Unfinished Sympathy was groundbreaking and hugely influential, a unique blend of electronic and orchestral elements that is both melancholic and uplifting.

The song is justifiably considered a masterpiece, one that set the template for the trip-hop genre, with its ethereal strings, dub-heavy bass and shuffling beats”.

There are a few more features that I want to bring in an article. Thirty years on, Abbey Road explored how Massive Attack did not budget for an orchestra for Unfinished Sympathy. the group’s Mushroom was forced to sell his car to cover the costs:

“Wil Malone is a musician, producer and responsible for the string arrangements of Massive Attack’s Unfinished Sympathy. He explains his story below of how the arrangement came to be:

“With Unfinished Sympathy it was the band and the producer who asked me to do the string arrangements for the song. I remember, the track was originally eight minutes long and they let me hear many demos of the song; all sorts of constructions and different ways of doing it. I asked them what they had in mind for the string arrangements of the track and it was Massive’s producer Jonny Dollar – he was highly responsible for putting together the track – who said: ‘do what you feel like’.

“The reason for inclusion of the string arrangements was to be supportive. In my view, in pop music, strings have to be supportive to the vocal, although they also have to give a boot and a sense of tension. If you have a rough track, it’s good to have the strings as a classical contrast sound so that you create a tension, a suspense going on all the time between the roughness of the track and the purity and classical feel. In pop music you’re usually working on a track with bass, drums, guitar, synthesizer, vocals and the strings have to blend with all that. My approach for Unfinished Sympathy was that it’s a really open track: basically it’s just a groove – keyboards, and a great vocal by Shara Nelson – so you just let it drift, just let it chill.

"With most string arrangements that I do, the strings are ‘put back’ in the mix. In other words they are so quiet you don’t really hear them, or they’re mixed up, so that you can just hear the top lines; but on Unfinished Sympathy, the strings are exposed. You can really hear them and I think that makes something different”.

"The string arrangements were played by 42 session players in Abbey Road Studio One. I wanted to make the sound rich so that it vibrates in your chest and stomach, but to also keep it cool, so not so much vibrato – hit the bar lines very accurately. When you are writing, descriptively, in classical music there are emotions that you want the orchestra to have or play, but in pop music that isn’t true. There is no point in writing instructions like ‘dolce’ unless it really means something; basically it is a different way of writing for strings in pop music as you’re writing to a mix, you’re trying to blend your sound into the sound that is on the track."

Former Abbey Road chief engineer, Haydn Bendall, adds: "I think the song is wonderful and everything on that album so well defined. Including the cover! The session was just a normal string session in Studio Two, nothing terribly remarkable in that I think; but it seems there have been numerous attempts to re-create that “sound”! It’s just a string section playing with minimal vibrato!".

In 2021, Culture focused on a masterpiece from 1991. Evoking, as they say, “the urban soundscape of a lost era”, I do hope that there is new focus on this track thirty-five years later. I was seven when it came out, so I don’t really remember it. I did hear it when I later first heard Blue Lines:

“Gender heterogeneity was a hallmark of trip hop, as was racial heterogeneity. The three creative forces behind Massive Attack during that time—Robert “3D” Del Naja, Andrew “Mushroom” Vowles, and Grant “Daddy G” Marshall—were two Black men and a white man who, as DJs and producers, ceded the vocal spotlight to women. “Unfinished Sympathy” is sung by the resplendent Shara Nelson, with the accompanying video featuring her walking down a busy street in Los Angeles. “Protection,” the melancholy title track from the group’s follow-up album, is sung by the shy and introspective Tracey Thorn, who starred in a whimsical Michel Gondry–directed video set in a crowded English housing block. The former vocalist is Black and the latter white, prompting a viewer to wonder: Is this white music or Black music? Well, it is both.

“Unfinished Sympathy” is an especially good example of Massive Attack’s both-ness. The track’s various elements—a relentless dance beat, a swelling orchestral arrangement, a crooning soul singer—should not really work together, but they do, magnificently, producing a music that is somehow both modern and classic. It feels like a jump into the future, into what would become the sound of the nineties, epitomized by the string-laden, dance-inflected albums of Bjork (who dated Tricky and whose first album was produced by Bristol DJ Nellee Hooper). Yet it is also an old-fashioned lover’s lament:

I know that I’ve imagined love before
And how it could be with you
Really hurt me, baby, really cut me, baby
How can you have a day without a night?
You’re the book that I have opened
And now I’ve got to know much more

This is the song I’ve returned to time and again during this pandemic year, on solitary treks across New York that self-consciously mimic Shara Nelson’s lonely walk in the video for “Unfinished Sympathy.” Watching her on that bright evening in Los Angeles, so full of longing, has also inverted my adolescent experience of this music: It is she who is perpetually moving through the golden light of summer while I, like everyone else here, am stuck in a cold and wet city. The music, just as it did back then, serves as a consolation, reminding me that this is what a city is supposed to feel like, and what I am supposed to feel like, too: urgent, alive.

It is also a reminder of what the music of a genuine urban culture sounds like—what distinct ooze bubbles up from a place that is not like other places. It is ironic that trip hop itself is just the sort of mood music—soft percussion, swooning strings—that might now play in a hotel bar in a downtown area that looks like every other downtown area on the planet. But for that, like so much else, I blame the homogenizing impact of the internet. Our music these days could come from anywhere; our cities could be anywhere. I still have never been to Bristol, but at least I know where I can find it”.

“Jim Arundel from Melody Maker wrote, "It'll be the "When a Man Loves a Woman" of its time, mark me well." Barbara Ellen from NME named it Single of the Week and called it "an intense, warmblooded dance track that boasts more fire in its balls than the Pixies ever dug for", a reference to the Pixies' recently released single "Dig for Fire". Another editor, Mandi James, expanded, "Lush and extravagant, plied with rich strings and roving keyboards, this is music with depth and grace. Massive aren't afraid to indulge their imaginations and let themselves go. Plaintive vocals that smack of Randy Crawford, smart samples liberated from the Mahavishnu Orchestra and all the romanticism of the Pet Shop Boys without the clipped, camp edge. Those not completely smitten by this record have no soul."[“. The reaction to the song was understandably positive. In years since, Unfinished Sympathy is seen as one of the greatest songs of all time. This timeless song is…

A divine symphony.

FEATURE: The Pink Floyd Influence… Inside a ‘Lost’ Kate Bush Interview from 1985

FEATURE:

 

 

The Pink Floyd Influence…

IN THIS PHOTO: Kate Bush in 1985/PHOTO CREDIT: John Carder Bush

Inside a ‘Lost’ Kate Bush Interview from 1985

__________

I have explored some…

‘lost’ interviews before, but I am not sure that I have covered this. I have included 1985 interview where I ran some features to mark forty years of Kate Bush’s Hounds of Love in September. Now, I have found an interview online that has not been seen by most Kate Bush fans. In an interview for Cash Box in a Manhattan hotel room in December 1985, Paul Iorio spoke with an artist who, at this time, was possibly at the peak of her career. Kate Bush did travel to America for promotion, though she was not there often:

“Iorio: You write about that emotional exhaustion on the second side [of "Hounds..."], with waves being almost an emotional metaphor for drowning.

Bush: It's very personal -- and we're sort of getting into psychiatry here! I'm sure there are all kinds of levels here like that. Actually my attitude in writing this album is a very positive one... I wanted the music to launch us all into the next era rather than be an emotional dark thing.

I think each album does have a different energy, otherwise you'd be doing the same thing again and not experimenting anew... Albums are such autobiographical material, not in the material but as an expression of what you're like at the time. And I was feeling kind about mankind and how nice people were rather than the demon side of things...

Iorio: Now that you've come out into the world and are doing appearances and interviews, has your view changed on mankind in general?

Bush: [Laughs] No, I still feel pretty positive, actually. It's really great for me that the album is being accepted...You would like people to enjoy it, but obviously you can't force them to. I feel very happy...

Iorio: In '78, you actually got your contract because of David Gilmour --

Bush: Yes.

Iorio: And this was a period when a lot of punk bands were being signed. How did you ever get a contract?

Bush: When I was signed, that was before the punk thing even happened. Punk was happening at the time of my first single.. Yes, I agree it was completely different than what was happening with punk music but perhaps that's why it works... I think that music is something that surpasses trends, fashions; music is something much deeper...

Iorio: How about concept albums? What were some of your influences?

Bush: ...The only concept for me that I thought worked was [Pink Floyd's] "The Wall." I think the third side of that is just brilliant, the best thing Floyd has ever done. So good. I mean, "Comfortably Numb" is perhaps the classic Floyd song. And Roger Waters' production and the sense of him being in there I found really fascinating... I was surprised at how many people kept referring to [The Who's] "Tommy" and "The Wall." And, really, they are very different. And I wonder if it's because they're concepts that they get labeled together. Do you think?

Iorio: Who do you like now? If you were home, who would you put on the turntable?

Bush: I listen to very little music, particularly contemporary. If I listen to it, it's going to be my own music, some arrangement or something. I spend so much time listening that the way I relax is by watching things, a comedy, that's my way to wind down.

Iorio: What comedy?

Bush: I don't know if you have it here [in the U.S.]: "The Young Ones."

Iorio: No.

Bush: Really good stuff. "Fawlty Towers," you must have that don't you here? 

Iorio: No, we don't.

Bush: Oh, no! You don't know what you're missing! You know John Cleese.

Iorio: Oh, yeah!

Bush: He did this whole sit-com that was about someone called Basil Fawlty, one of the funniest things. I'm so surprised you don't have that here. You don't know what you're missing, you poor people. It's brilliant stuff. [Monty] Python is great, but this has made John Cleese beyond Python. Whenever John Cleese appears, they consider him Basil Fawlty.

Iorio: What are your favorite [films]?

Bush: "Don't Look Now"... I think is one of the best films ever made... You have so many things you don't understand, but by the end of the film, one of those has been tied up neatly. I really love Hitchcock; I think he was a complete genius, to me one of the best directors. Such a sense of how to put things together. I really like Terry Gilliam's work. Do you remember "Time Bandits"?

Iorio: That was a big one...

Bush: He's made three films, one before that, and one, actually, "Brazil," that, as far as I know, wasn't released here [in the U.S.], which is crazy, because it's such a good film and was released everywhere else. Neil Jordan. Have you heard of his stuff? [I nod.] He did a very interesting film called "Angel." He's Irish and his work has a great sense of the Irish culture, the whole rural sense of Ireland. And I love Kurosawa's films. And comedy films. "Young Frankenstein." It's funny but it's also an incredibly beautiful film, it's so well done. I think [Mel Brooks] was one of the first people, too, to play with black and white, when color was what everyone was using. Beautiful. Gene Wilder is so funny.

Iorio: How about Woody Allen?

Bush: I really like Woody Allen, but there are a lot of his films I haven't seen. My favorite one is "Play It Again, Sam." I thought that was so funny. But there's a lot I haven't seen.

Iorio: You mentioned Irish cinema. How about Irish music? You have Irish [music] on the second side of the ["Hounds of Love"] LP. How did you get into Irish folk?

Bush: I think it's probably the biggest influence musically that I've ever had. My mother's Irish. And when I was very young, both my brothers were very into traditional music, English and Irish. They were always playing music, so I was always brought up with it. And they were playing instruments. And I think when you're a kid, you're very open to all things musical...It's only in the last couple of albums that I've been able to express my influences in Irish music through my work.

It's funny when you write a song -- it's easy for me now -- but there's almost a second stage where you take control of the song. You start writing it, and if you're not careful, it just finishes itself and it might not be what you wanted. It's very strange, it takes over itself. It has its own life.

I've just never really been able to write something where I could present the Irish music in a very obvious way. And I think the second side of the album, it was a perfect vehicle to involve the Irish musicians I worked with on the last album in a more involved way, to use them to create that atmosphere...

Iorio: What songs have you written that wrote themselves?

Bush: That's a difficult question.

Iorio: Some must have taken some time. Others probably took off automatically.

Bush: Oooo. Yes, that's right. A lot of songs are like -- wolllaahhh! And that's it. And other songs -- it's like stages. It maybe takes three or four days to get the song structurally together. But then I could spend a couple weeks finishing off the lyrics. Each song is so different...It has its own personality. Some are really grumpy. Some are really quite easy. It's extraordinary. You can put some things on a track, and it will just reject them, it just won't work. And you can put them on another track, and it works really well.

[Bush offers me an Irish cigarette.] Do you want one of those?

Iorio: Oh, I was dying for you to ask! [I read from the pack:] "Cigarettes can seriously damage your health." So in Britain you have the same warnings?

Bush: You have them here, too, don't you?

Iorio: We have modified ones. There are rotating warnings. They have, like, "[Cigarettes] can cause complicated pregnancy." Another says, "Quitting now can seriously increase your chances of having a normal life." They have rotating warnings. But yours are standardized ones?

Bush: Absolutely. They're on every packet. That's an interesting idea, actually: putting different [warnings]....Maybe you'll listen to one of them! [laughs]

Iorio: The headline: Kate Bush -- Candid on Cigarettes"!

Bush: [laughs] Oh, God.

Iorio: Suppose this becomes a number one hit in America. What's the first thing you're going to do?

Bush: Buy an SSL. Get back to the studio!...An SSL is the best mixing console you can get. I'd get one of those. And change the room a but and get some more equipment in”.

I wanted to spotlight this interview, as it is one that I have not included on my site before. Kate Bush gave a lot of interviews in 1985, but this one is particularly interesting. Hounds of Love is this masterpiece that was a worldwide success. If some of Bush’s albums have not endured and are not talked about too much, Hounds of Love is a remarkable work that still sounds utterly wonderful…

AFTER all of these years.

FEATURE: Chips of Plutonium Are Twinkling in Every Lung: How Criticism Against Her Endless Positivity Affected and Changed Kate Bush’s Music

FEATURE:

 

 

Chips of Plutonium Are Twinkling in Every Lung

IN THIS PHOTO: Kate Bush in 1980/PHOTO CREDIT: Getty Images

How Criticism Against Her Endless Positivity Affected and Changed Kate Bush’s Music

__________

NOT to say that…

Kate Bush’s music dramatically shifted after one encounter, though there was this awkward clash in the late-1970s and 1980s where a lot of the music press saw her as too optimistic and lacking any depth. One could say that it not only motivated her to include more political and socially conscious songs. In terms of her production and the scope of her work, maybe she was proving to the dismissive and misogynistic critics that she was serious and was not this slight and empty artist. I have included the interview before, but on 20th October, 1979, Danny Baker interviewed Kate Bush for NME. This was not long after she completed The Tour of Life and whilst she was recording 1980’s Never for Ever. To this point, the singles that had been released were quite theatrical in a way. Different to what was being offered by artists of the time, I guess publications like NME were more favourable to Rock bands and Punk artists. To them, Kate Bush must have seemed slightly ridiculous. Though Danny Baker has since regretted his attitude and tone in this interview – though this is no excuse as he was disgraceful and hugely unprofessional! -, there was something in it that provoked Kate Bush to shift. Not going from nice to sharp. If some quarters of the press saw her as too optimistic and shallow in a way, a few of the tracks on Never for Ever was an answer to those who asked if she could be serious. The entire interview is a hatchet job and car crash. Bush, only twenty-one at the time, is incredibly professional (much more so than Danny Baker) and navigates perhaps the most insulting, sexist and worst interview she has been involved with.

There are some segments of the interview that are especially galling and significant. Even if Danny Baker is an inexcusable misogynistic and completely unprofessional in every respect, there are some positives that did come from the aftermath:

“Hey Kate. Do you feel obliged to sing like that these days?

"What? You mean…"

Y'know, like you could age the nation's glassblowers.

"Oh, yeah, sure. I mean, I don't feel obliged – that is me. See, like in a recording studio, when it's all dark and there's just you and a couple of guys at the desk, well, you get really so involved that to actually plan it becomes out of the question. It just flows that way. As a writer I just try to express an idea. I can't possibly think of old songs of mine because they're past now, and quite honestly I don't like them anymore."

Have you still got people around you who'll tell you something's rubbish?

"My brother Jay, who's been with me since I was writing stuff that really embarrasses me – he'd let me know for sure… Yeah, there's a few I can really trust."

She smiles again and I was warm to her. Mind you, she speaks my language, so I could be sympathetic because she's one of the south London rock mafia. I ask her what it's like to be paraded in the Sun and suchlike as the Sex Goddess of POP!

"Hmmm. You see, you do a very straight interview with these people, without ever mentioning sex, but of course that's the only angle they write it from when you read it. That kind of freaks me out, because the public tend to believe it…"

Asking a few more questions, I begin to realise that this isn't the kind of stuff that weekloads of Gasbags [NME letters page] are made of. I'm searching for a key probe, but with Kate Bush – well, there's not likely to be anything that will cause the 12-inch banner-headline stuff, is there now? I recall Charlie Murray's less than enthusiastic review of her Palladium shows, which were apparently crammed with lame attempts to "widen" the audience's artistic horizons – y'know, lots of people dressed as violins and carrots an' that. CSM reckons it was one of the most condescending gigs in the history of music. Kate had read the review, but she didn't break down.

For a start I have cut about a hundred "wows" and "amazings" from her speech. She talks at length about how important she feels it is to be "creating" all the time, and when I asked her if she looked to the news for any song inspiration I got this curious answer:

"Well, whenever I see the news, it's always the same depressing things. War's hostages and people's arms hanging off with all the tendons hanging out, you know. So I tend not to watch it much. I prefer to go and see a movie or something, where it's all put much more poetically. People getting their heads blown off in slow motion, very beautifully."

She grins broadly again. Kate is an artist through and through, seeing the world as a crazy canvas on which to skip. Her outrageous charm covers the fact that we are in the midst of a hippy uprising of the most devious sorts. I approach her on the question of being a woman in pop music once more. How do her workmates treat her?

"Well, when I started, I felt really conscious of being female amongst all these fellows. But these days I feel like one of the lads”.

IN THIS PHOTO: Kate Bush at the 1980 British Rock and Pop Awards/PHOTO CREDIT: Mirrorpix/Getty Images

Something Graeme Thomson notes in Under the Ivy: The Life and Music of Kate Bush is how Danny Baker felt Kate Bush was hippy-dippy and pampered. Someone who was perhaps a spoilt rich girl, Bush did not go from writing about one thing and completely concentrated on another. Rather than the nature of the music that came from that October 1979 interview, there was a sensibility and determination that grew. However, two hugely politically and powerful songs were written for Never for Ever. Early on the morning of 9th November, 1979, four American command centres received signals that a full-scale nuclear attack by the Soviet Union was on its way. This was the time of the Cold War. A terrifying time when nuclear destruction was a constant threat and possibility, Kate Bush would have been well aware of it, however, she kept it out of her music. Making her first two albums similar in nature when it came to the themes addressed (alongside songs of desire and love was the fantastical, sometimes gothic and fantastical; always unique but never really political), Never for Ever consciously ended with two songs that could be deemed ‘political’. However, as Graeme Thomson notes, neither as potent and cohesive perhaps as artist like Elvis Costello and her peers. However, Breathing was very much an observation of potential nuclear holocaust. A foetus protected by her mother’s womb, this unborn child is breathing in their mother’s nicotine. “We're the first and last, ooh-ooh-ooh/After the blast/Chips of plutonium are twinkling in every lung”. Army Dreamers is perhaps more of a reaction to numerous casualties of young men in numerous conflicts in 1979 and 1980. Maybe The Troubles in Northern Ireland were moving Bush. Or the Iran-Iraq War.

Rather than her music being entirely positive – or at least neutral and not really having too much anger or political drama -, there was a change. Bush co-produced Never for Ever and you can tell that she wanted her music to be much more in her control. Bigger and more diverse. Moving her voice slightly from the high-pitched impression people had of her, you can hear growl and grit in Breathing. Army Dreamers’ narrator is quite high-pitched, though I think Bush is using her mother’s voice. This idea of a mother losing a young son. Bush acting as this mother figure. The Irish accent makes me think Bush is focusing on The Troubles. I do think there was an issue with critics writing Bush off as nice and naïve. Perhaps someone who was prancing and leaping around without saying anything significant, I feel the likes of Danny Baker forced Bush to put distance between her and her first two albums (1978’s The Kick Inside and Lionheart) and almost apologise. Even if she did not compromise her vision and sound because of idiots in the press, I do think a fire was lit. Actually, more politics did come into her music. You can hear it on 1982’s The Dreaming. Pull Out the Pin is one example. I feel Bush’s vocal style changed because she no longer wanted to be diminished and infantilised in the press. A more masculine energy and harder percussive sound would come in. Never for Ever hardly contains anything that thematically could be linked to her first two albums. In terms of talking about love, most of Never for Ever looks at characters and other people and not so much Kate Bush herself. The strangeness of The Infant Kiss. The revenge drama of The Wedding List. The deceit and mistrust of Babosohka. Regarding All We Ever Look for, Bush said in a 1980 interview this: “Our parents got beaten physically. We get beaten psychologically. The last line – “All we ever look for – but we never did score”. Bush definitely evolving. In terms of getting more serious in a way. Darker too in some ways. Being labelled a sex symbol, there were no lustful or sensual songs. Nothing you must hear on The Kick Inside or ever Lionheart. It is a shame in a way.

However, maybe Bush did force herself to kick against those who wrote her off. Never for Ever went to number one. Bush became the first British female artist to have an album reach the top spot in the U.K. The Dreaming, whilst not a chart-topper, was so much more experimental and darker than what went before from her. Integrating different influences and embracing technology like the Fairlight CMI and influences like Peter Gabriel. Maybe her first two albums were more feminine and female. Perhaps neutral for Never for Ever and this transition. Definitely more masculine for The Dreaming and 1985’s Hounds of Love. 1989’s The Sensual World a definite shift back to the more female. I wonder how influential negative and sexist critical attack was, not only in terms of Bush addressing politics, conflict, violence and breaking away from this idea she was a caricature or hippy. Indeed, as a producer and songwriter, there was a transmutation. One can say that motivation, wherever it came from, resulted in some of Kate Bush’s best music. Many will argue that critics had nothing to do with that and it was Bush naturally evolving and building. That is fair. What is clear how a 1979 NME interview directly impacted Never for Ever which, in turn, was a bridge to a new era or a departure and disconnection from the past. A past that I am very fond of. What hurts most is how this criticism and sexism was seen as normal or cool. Baiting an artist that was so inventive and original because she didn’t’ seem to fit their impression of what music should be. Kate Bush definitely had the last laugh. Her music and influence far outweigh the words or reputation of any of those journalists who attacked or mocked her! If she is seen as this genius and one of the most influential and important artists ever today, that sadly was not the case (in the eyes of some)…

IN 1979.

FEATURE: Spotlight: Revisited: Eliza Rose

FEATURE:

Spotlight: Revisited

Eliza Rose

__________

A terrific D.J. and artist…

I spotlighted back in 2023, I wanted to come back to her now. Although there has not been an album from Eliza Rose yet, there have been some terrific singles released this year, including Too Slow (All Night). I do think that next year is going to be a huge one for her. “This success has been in the works ever since Eliza began working at Shoreditch’s Flashback Records aged 15, coming to circle East London’s clubs and festivals as a DJ. Inspired by vocal icons including Nina Simone and Amy Winehouse as well as golden age R&B such as Aaliyah and Destiny’s Child, plus the sketchy garage raves she started going to when underage, her love of vinyl found her amassing a collection of her own, digging for gems old and new that she knows will make the dancefloor go off. Now armed with a hybrid DJ-plus-vocals show that pays homage to queer culture’s importance in dance music, and new productions that she’s working on, Eliza is ready for the next chapter. With MOBO and Brit nominations, plaques, magazine covers and a world tour under her belt, she’s straddling both the underground and global superstardom”. That is some biography from Resident Advisor from a couple of years ago or so. I am going to bring things up to date, as there have been some interviews from this year that I think are worth highlighting. If you have not heard Eliza Rose and experienced her incredible music, then do go and follow her and check out her socials.

Before coming to this year and some illuminating interview with Eliza Rose, I want to go back to last year. I think we will get some amazing new interviews and features in 2026. Eliza Rose taking her exciting next big steps. I am going to start out with an interview with COMPLEX that was published last December. They spoke with the phenomenal Eliza Rose about her “No. 1 hit single, “B.O.T.A. (Baddest Of Them All)”, working with Calvin Harris, fame and more”:

“Eliza is a product of her East London upbringing, from a fateful work experience stint at a local record store at the age of 15—where she would delve headfirst into a love of vinyls that would then inform her work as both a DJ and producer—to playing at and frequenting the underground basements of Hackney clubs such as Visions and The Alibi, gems that no longer exist as a result of gentrification.

Ahead of her set at Circoloco x The Warehouse Project in Manchester this weekend, we caught up with Eliza Rose to talk newfound fame, staying authentic, and the importance of community.

COMPLEX: Congrats on the release of your new single, “Body Moving”, with Calvin Harris! I understand it all started from a DM Calvin sent you last year, but it’s a big indicator of your fame and popularity—which is a stark difference to the underground scene you were operating in before. How are you finding it all?

Eliza Rose: Acclimatising was difficult at first because, all of sudden, you have all these eyes on you, with all these expectations. In the past few months, I’ve taken back full control of my output with the view of making music that I can look back at in my sixties or seventies and be proud of.

What influences your sound? It has a distinctly London feel to it, for sure.

My parents weren’t really big music heads so I had to go out and find the music I liked. Soul and jazz influences came from the record shop I worked at when I was 15 and stayed at for over a decade. I got into all of this because I loved Amy Winehouse and wanted to delve into her influences, so I got into Nina Simone, Billie Holiday and Esther Phillips. The dance element of my sound was shaped mostly by raving at the age of 15 at places like the Opera House and Rudolph where they were playing garage music in its prime. The fact that garage uses a lot of soulful R&B samples anyway just ties into it. That uniquely London garage sound, fused with soulful vocals, has shaped my artistry in all its facets: how I sing, how I play, and how I produce.

Underground scenes nurture a lot of community in a way that isn’t sustainable in commercial spaces—why is community important to you and your work?

The underground scene, by virtue of it being so much smaller, is easier to hold people accountable in. The people are more open-minded and it’s easier to find pockets of people and communities that align with your morals and values as well as your music taste. Community is important because my music and my shows are all about celebrating authenticity and spreading joy. An Eliza Rose show is an experience for people to feel included and joyful, and community is intrinsic in allowing that authenticity to flourish. I try to live and express myself authentically every day, which is a privilege that I want to enjoy and create in my output.

Although your music taps into ‘90s house and ‘00s garage, it feels more future-facing than nostalgic.

Lady Miss Kier is one of my major inspirations in style and music, who has similar values that I express—it’s just that mine are repackaged through a modern lens. CASISDEAD’s storytelling is so amazing it’s almost cinematic in the drama he creates. Honey Dijon is true to herself and is somebody I always reference when it comes to being an example of authenticity. Doja Cat and Megan Thee Stallion are also an inspiration, in that they’re women doing what they want irrespective of what anybody thinks”.

Just before wrapping up with an interview from July, perhaps her biggest moments was when the single, Weekend, was released in the summer. I do hope that there are more chats with the sensational Eliza Rose next year. Before moving on, CLASH covered Weekend prior to its release:

“Cutting her teeth on London’s club scene, Eliza Rose has an innate gift for translating dance tropes into impeccable club moments. Viral smash hit ‘B.O.T.A. (Baddest Of Them All)’ was a breakout moment, a soaring No. 1 success that saw Eliza paired with Intergalactic Criminal.

Since then she’s scored a run of incredible singles, with Eliza Rose pushing herself to the forefront of UK club culture.

For her next move, Eliza Rose is tapping up an iconic name in British dance music – Defected.

“I finally feel like I’m opening a new chapter and entering a really exciting new era…”

‘Weekend’ was built alongside The Trip, and the rave production duo lift Eliza’s voice to the uppermost of the heavens.

“I’m super excited about the release of this track! It’s such an important moment for me in many ways, it’s been a while since I’ve been able to put out music on my own terms and I finally feel like I’m opening a new chapter and entering a really exciting new era, exploring the sounds I love. I am so so happy to share ‘Weekend’ with the world, it’s a song about being able to let go of inhibitions as the weekend approaches once again. I was trying to embody that exciting feeling of freedom, of heady anticipation about what shenanigans me and all my fellow party people will get up to on Friday, Saturday, summer, festivals and those long summer nights that turn into days”.

I have recently spoken to incredible D.J. queens, Rowena Alice and Carly Wilford, and I would love to interview Eliza Rose next year. She has had such a busy 2025 and played some incredible festivals. I wonder what she has planned for 2026. There will be huge worldwide demand to see this modern-day icon. Someone who is going to grow in stature and influence. A queen (or the) of underground Club culture, HUNGER interviewed Eliza Rose back in the summer:

“You’ve previously talked about how you find your position in the industry as a Black woman. Are there any fellow Black women in the scene that you can’t wait to see blow up?

Oh, loads. OK Williams is an incredible DJ, my friend Amaliah, Bambi is a great producer and artist. Introspekt was actually one of the first people to put something out on Rosebud [Recordings]. We’ve still got a long way to go, and it feels like we’ve gone a bit backwards — people are not as cautious about making line-ups fair, but there are more and more amazing Black female electronic music artists. There is more space to learn and more female communities. We just have to make sure we’re keeping the lineups there.

In your own journey, where do you see your label, Rosebud Recordings, moving towards?

Really, I just want to keep that DIY ethos. It means I have control over my music and it lets me put out my own weird little shit without worrying. It was never a money thing for me, even if B.O.T.A. came out on it, at first, I didn’t ever expect it to blow up.

‘B.O.T.A.’ was absolutely huge when it came out. How much has your life changed since you hit that viral status?

It catapulted me — meteoric rise and all that malarkey. But it was really like being on a rollercoaster. It really opened my eyes to the fact that music is a business and many people treat it as such. I think the song became bigger than me and I do love it, I’m grateful for it, but I now want people to see Eliza Rose the artist, not just the singer of ‘The Baddest of Them All’.

After playing Glastonbury, what other giants are on your bucket list?

I would really like to put my own events on, maybe a small-cap club somewhere in Hackney, go back to those Plastic People days where it was all about the music. I also want to start touring my live shows, somewhere like Primavera, or do a whole album live at Glastonbury, which is like a spiritual home for me.

Talking festivals, your style is very much mood-board material. What is your fashion inspiration?

I really love the ’60s, ’70s and ’90s, they are key eras for me. Lady Miss Kier has always been an influence to me, but I’m definitely moving into a more grown and sexy era. This Black Kylie Minogue is the realm I want to touch on now, and I feel like my style has really grown a lot. I say, while wearing an acid green adidas top”.

It would also be great to read a detailed interview where Eliza Rose discusses her musical heroes. Those she idolised as a child and when she was growing up. The songs that hit her and why she followed those artists. However, earlier this month, The Guardian spoke with Eliza Rose about the songs that have influenced her. It is interesting discovering the wide array of artists that she selects:

“The first single I ever bought

Aaliyah, Rock the Boat. My nan sent me and my cousin to pick up some bits in Dalston and there was some change left over so I went into HMV and bought this CD for £1.99. I shouldn’t have been stealing my nan’s change but I felt so grownup. If my Jamaican dad had found out, he wouldn’t have been happy. I would have got a couple of licks.

The song I’ve streamed the most

Witness (1 Hope) by Roots Manuva. It’s an island track that suits any occasion. If I’m feeling a bit down it gives me some bad girl energy and reminds me to come correct. It also gives me a good adrenaline hit on a run.

The song I can’t help singing
Genius of Love by Tom Tom Club. They had a real influence on my sound and the newer stuff I have coming out soon. I love funky, electronic dance and I also love soulful stuff.

The song I tell people is my favourite

Billie Holiday’s I’m a Fool to Want You. When I started working at a record shop age 15, Billie Holiday was my introduction into music that wasn’t so commercial. I feel like if you say you like Billie Holiday, you sound a bit bougie.

My karaoke go-to song?

Amy Winehouse, You Know I’m No Good. I’m bussing out Amy on any occasion, I’m a diehard fan. This was my anthem at Stoke Newington School where I went. We even had an Amy Winehouse concert. It was an amazing school with a lot of funding for the arts. A plethora of great artists have come out of that school”.

Ever since I spotlighted Eliza Rose in 2023, I have been keeping an eye on her career. Seeing how she continues to grow and is releasing some of her best work. I think next year will see her play some of her biggest festivals sets. Maybe there will be an album or mixtape. Definitely some worldwide touring and incredible collaborations. Someone I know many will tip for success in 2026. A phenomenal artist that everyone should seek out, the fabulous Eliza Rose is…

ONE of our finest talents.

__________

Follow Eliza Rose

Instagram:

https://www.instagram.com/elizarosemuzik/

TikTok:

https://www.tiktok.com/@elizarosemuzik

Facebook:

https://www.facebook.com/elizarosemusic

YouTube:

https://www.youtube.com/channel/UCaVHiwJ1N03YThNdMEUecZA

Spotify:

https://open.spotify.com/artist/4XC335ouK6pXyq4QiIb8bP?si=HDQPRd-nRditb0dZpDv74w

FEATURE: Groovelines: George Michael – Jesus to a Child

FEATURE:

 

 

Groovelines

George Michael – Jesus to a Child

__________

I may write…

a thirtieth anniversary feature about Older closer to 13th May. However, I did want to spend time with perhaps its most beautiful and heartbreaking song, as it as released as a single on 8th January, 1996 - so its thirtieth anniversary is not too far away. Jesus to a Child was premiered at the MTV Europe Music Awards in Berlin in November 1994. The third studio album from George Michael, I think Older is one of his most overlooked and under-loved works (it was reissued in 2022). Its sublime and gorgeous lead single is so spellbinding. In terms of George Michael’s vocal and his lyrics. I will drop in what the critics said about this song. On an album that contains Michael classics like Fastlove and You Have Been Loved, I think Jesus to a Child is the standout. I did not know that Michael had secretly donated all of the single's royalties to ChildLine. Money that helped save thousands of children, he wanted to keep it secret. However, after his death in 2016, Esther Rantzen, founder of the charity, revealed this fact. George Michael’s generosity extended beyond the charity. He donated to much to so many causes and people, often without it being made public. It gives Jesus to a Child this extra level of importance. It is a stunning song. It is heartbreaking learning about the song and its inspiration. Jesus to a Child is a tribute to Michael’s Brazilian lover, Anselmo Feleppa. The two met whilst George Michael was performing in Rio de Janeiro in 1991. Feleppa tragically died in 1993 from an AIDS-related brain haemorrhage. Michael could not discuss the song’s subject and inspiration as his homosexuality was not publicly known at that time. It was not until he was very publicly outed by a Los Angeles police officer in 1998 that he could more openly talk about the song. The fact Michael wrote this song but could not talk about his sexuality. Also, when Feleppa was dying, Michael could not travel to e with him through fear of being outed and the backlash that would incur..

I want to move to an article from The Telegraph that was published shortly after George Michael’s death on Christmas Day 2016. We learn about the tragic story behind Jesus to a Child. It starts by recalling what George Michael said to Kirsty Young when he appeared as a guest on Desert Island Discs back in 2007:

“It was a strange, strange thing. There have only been three times in my life when I’ve really fallen for anyone. And each time, on first sight, something has clicked in my head that told me I was going to know that person. And it happened with Anselmo across a lobby. So, I met him in that lobby and I didn’t understand why the click happened. This was a man in a Brazilian hotel, I’m never going to see him again, why did that happen? I didn’t understand what was going on. This was the first love of my entire life, this was the first person I ever shared my life with.”

It took Michael until he was 24 to fully realise he was gay, but Feleppa helped him to accept his sexuality: “It’s very hard to be proud of your sexuality when it hasn’t given you any joy,” he told The Huffington Post in 2011, “but once you have found somebody you really love... it’s not so tough.”

Feleppo and Michael embarked upon a freewheeling affair. The Brazilian was a couple of years older than the singer, and more worldly-wise – he showed Michael, who had been brought up by two hardworking, self-made parents, how to enjoy spending his money. He recalled on Radio 4 that he was “still quite afraid, still not knowing how to spend money, I was terrified of my lifestyle removing my ability to connect to what I did.”

They cruised the Caribbean in a yacht, went dancing in New York and Los Angeles’s most glamorous gay clubs, Michael reportedly gave his lover a Mercedes, a Cartier watch, an apartment.

“Anyone who knew me before I met Anselmo would tell you that he opened me up completely – just in allowing myself to trust my intuition,” Michael told The Mirror. “To say to myself, this isn't going to hurt. Life is not going to hurt you if you just open up to it a little bit more. And I am so grateful for that."

"I really believe that he changed the way I look at my life. And I think he changed it because he was such an incredibly positive person. He had a love of life that we just can't grasp in this country. I think he took away that slightly puritanical, Victorian aspect of my upbringing.”

The fug of grief and marijuana rendered Michael creatively dormant. He didn’t write for 18 months, until he did –conjuring up Jesus to a Child in less than an hour. The lyrics, "I'm blessed I know / Heaven sent and Heaven stole / You smiled at me  Like Jesus to a child", seemed oblique at the time, but were actually the first reference Michael made in song to falling in love with a man.

From there tumbled an album, Older, inspired by and wholly dedicated to Feleppa – as he had written in the album sleeve: “This album is dedicated to Anselmo Feleppa, who changed the way that I look at my life."

As Feleppo had shown Michael how to fully embrace his sexuality, so Michael was unashamed in naming his muse: “I made it so clear on that album that I was not going to run away from all the Press reports about Anselmo," he told The Mirror. "Not to put a dedication to him would be ludicrous because so much of it was about him. Bereavement tinges the whole album. It had to be in everything I wrote at the time because I write directly about what has just happened to me."

However, the album – and its tell-tale sleeve – wasn’t released until 1996. Michael wouldn’t come out publicly until 1998, and, while he wasn’t unambiguous about his sexuality, the press were still wary to label his and Feleppo’s relationship as anything more than “close friends”.

Jesus to a Child received its first public airing at the MTV European Music Awards in 1994, when Michael performed during the ceremony in Berlin. It took another two years to be released as a single, Michael’s first in nearly four years, and initially critics were underwhelmed.

“This doesn’t sound like a very inspired start to the next phase of his career”, bemoaned David Sinclair in The Times in December 1995. “A long, maundering ballad, it suffers from a lack of direction and presence. The bittersweet lyric has a certain romantic appeal, but the message of hope comes swathed in layers of introspection and self-pity: "And what have I learned from all this pain?/I thought I'd never feel the same about anyone or anything again."

Jesus to a Child topped the charts instantly once it was released, in the cold new dawn of 1996. Older hit the record shelves five months later, bringing with it speculation about the Brazilian listed in its small-print. At nearly seven minutes long, it remains the longest song to ever grace the top of the UK Top 40”.

Before wrapping up with some critical reviews of Jesus to a Child, there is this interview archive from when George Michael spoke with 8 Days magazine in 1996 about this return into the spotlight. He had not gone anywhere but, fickle as the music press is, they felt like this was a comeback. Published in May 1996, George Michael discussed, among other things, the first single from Older:

“His first single off it, ‘Jesus to a Child’ is, he says, the best thing he’s ever done.

“It’s a special song. It was one of those songs that just felt like it was handed to me. I didn’t have to try very hard. It came naturally. It was recorded over five days but written in just a couple of hours.”

The single is a tribute to a close Brazilian friend, Anselmo Feleppa, who died suddenly from brain haemorrhage two years ago.

“Yes, it’s a sad song but I hope it has a positive message too – I didn’t want it to be all ‘woe is me, woe is me’. It is a song about bereavement. But also about hope.”

And hope has been important to the singer in recent years. For the longest time, there was always someone ready to write him off. They did it when he was with Wham! They did it when he went solo. And they have done it on a regular basis the past few years as the singer fought a long and bitter legal battle to free himself from Sony, his record company, which he claimed treated him like a piece of faulty software”.

PHOTO CREDIT: Brad Branson

I am going to finish with a selection of the critical reviews for Jesus to a Child. If some felt it was too slushy and not a naturally commercial hit, there is no denying the popularity of the song. A number one in the U.K. and multiple countries, I think it has not aged in three decades. Still so poignant and moving. I am also including some retrospective reviews, to show how it is seen so many years after its release:

“Barry Walters from The Advocate wrote that on the song, "Michael compares the emotion of a now-deceased lover to that of the Lord, who was, after all, a man. The tone is intensely elegiac, and it doesn't take a stretch of the imagination to consider this a love song to a boyfriend who has died of AIDS."  Larry Flick from Billboard complimented it as a "gorgeous, quietly insinuating pop ballad." He noted that the words "are, by turns, melancholic and romantic and are delivered with delicate ease", adding that "musically, Michael layers light, shuffling percussion with mild acoustic guitar lines and sweetly understated strings." Steve Baltin from Cash Box declared it as a "lush ballad", adding that "he's never sounded more Adult Contemporary than he does here. 'Jesus to a Child' is a hit as surely as some sport will strike this year." Daily Mirror named it "George's 'best-ever' song". Sarah Davis from Dotmusic remarked that in the context of the album, "Jesus to a Child" "sets the scene for Michael's current direction—brooding, mature, reflective but not so downbeat as to disallow the good times." Entertainment Weekly gave it a C−, calling it a "dispirited, tortoise-paced ballad, which drags on for nearly seven minutes". The writer added that "there's only one retort—bring back Andrew Ridgeley!" Caroline Sullivan for The Guardian felt it is "the best thing on the album" and named it Single of the Week. She said, "The tune itself is a Michael ballad in excelsis. The likes of 'Careless Whisper' (1984) and 'A Different Corner' (1986) can now be seen as trial runs for this one, which incorporates every GM hallmark from anguished upward vocal inflections to tasteful acoustic guitar."

Swedish Göteborgsposten concluded that here, Michael "showed that he still mastered the craft." Jan DeKnock from Knight Ridder praised it as a "mesmerizing ballad" and a "stunning effort". Paul Lester from Melody Maker said it is "all bossa nova rhythms and Spanish guitar over which George softly whispers a requiem for his departed lover”.

Victoria Segal from NME viewed it as "irresistibly maudlin." In 2017, Dave Fawbert from ShortList named it "one of the most beautiful songs ever written". Eric Henderson from Slant Magazine wrote, "'Jesus to a Child' is among the most haunting of Michael's ballads, and one whose meaning could only fully emerge after his coming out. A slow-motion flamenco cry, written following the death of his lover, Anselmo Feleppa, 'Jesus to a Child' still remains supernaturally clear-eyed about what it means to love and to lose. "I've been loved so I know just what love is/And the lover that I kissed is always by my side/The lover I still miss was Jesus to a child".

On 8th January, it will be thirty years since Jesus to a Child was released. The first single from George Michael’s third studio album, Older, I think that we all need to give the album more of our attention and time. Jesus to a Child is one of Michael’s most beautiful and important songs. Considering its story, what Michael did with the profits from the song and how it has endured through the years, I have loved it since I first heard it in 1996. A typically astonishing song from a masterful artist…

WHO is very much missed.

FEATURE: Oh, Sister: Bob Dylan’s Desire at Fifty

FEATURE:

 

 

Oh, Sister

Bob Dylan’s Desire at Fifty

__________

DESIRE is the incredible…

 IN THIS PHOTO: Bob Dylan performs at the Rolling Thunder Review Concert on 8th December, 1975 at Madison Square Garden in New York City/PHOTO CREDIT: Ron Galella, Ltd./Ron Galella Collection/Getty Images

seventeenth studio album from Bob Dylan, released on 5th January, 1976. It is one of his more collaborative efforts. One associates Bob Dylan’s albums with him being at the forefront pretty much on every song. Not quite the case in terms of the cast of musicians he employed for Desire. All songs were written by Bob Dylan and Jacques Levy, except Sara and One More Cup of Coffee, which were solo Dylan compositions. To mark fifty years of a classic, I am going to come to some features and reviews. So that can better understand and appreciate an album that reached number one in the U.S. There were legal disputes between Dylan and Levy’s estate. The estate argued that they were entitled to compensation over the 2020 sale of Dylan's song catalogue. That was against Universal Music Group. It was ruled that Levy’s estate were entitled to royalties only and no further payments. Not a black mark against the album, it does at least add additional context and layers to Desire. I am going to start off with Classic Rock & Culture and their 2016 examination of Desire:

“Coming off the comeback success of the recently released Blood on the Tracks, the greatest singer-songwriter of his generation ushered a huge band into the studio to record its follow-up in July 1975. More than two dozen musicians were initially gathered – a violin player, an accordion and mandolin player, even Eric Clapton at one point – to work on Desire, but by the time it was released on Jan. 16, 1976, its scale had lessened by quite a bit.

But it's still one of Dylan's most ambitious records, built around two sprawling narratives (co-written with Jacques Levy, a New York-born psychologist who also was a theater director in addition to being a lyricist). If that wasn't enough, Dylan framed three of the record's other songs around a screenplay based on a forgotten Joseph Conrad novella. After the highly personal Blood on the Tracks, Desire was a return – concerted or not – to the type of songs he was writing back when he was building his legend more than a decade earlier.

The album's centerpieces were rooted in real-life drama. The album's opening track and highlight, "Hurricane," was based on the plight of boxer Rubin Carter, who was charged with three murders in 1966. A decade later, his case was protested by activists, who claimed that racism drove both his arrest and trial. Dylan picked up on Carter's story and wrote an eight-and-a-half-minute song about him, which was both controversial and eye-opening. (In 1985, Carter was released after a judge found that he didn't receive a fair trial 20 years earlier.) It also – surprisingly, given its subject matter and length – became a Top 40 hit, Dylan's second-to-last ("Gotta Serve Somebody" went Top 25 in 1979).

The other track, "Joey," which opened side two, told the story of mobster Joey Gallo, who was murdered in 1972. And like he did on "Hurricane," Dylan paints a compassionate portrait of his subject. But this one was a bit more troubling, given Gallo's violent past. Still, Dylan lays out a defense over 11 winding minutes, and like some of his songs from an earlier era – most notably "The Lonesome Death of Hattie Carroll" – he lets his vivid storytelling set the scene.

It helped that the band – stripped of its huge origin to a quintet that included Dylan, singer Emmylou Harris and violin player Scarlet Rivera, who gives the album its distinctive sound – locked into the grooves. The nine-song set – which also features the great "Mozambique" and the album-closing "Sara," a love letter of sorts to his crumbling marriage – ended up being his last great album before a period of mediocre shrugs, slight rebounds and embarrassing disappointments left him dangling until a career resurrection at the end of the '90s.

Like the two albums before it, Blood on the Tracks and Planet Waves, Desire hit No. 1. It would be his last chart-topping record until Modern Times reached the spot in 2006. Shortly after recording the album, Dylan took most of the group, along with many of his friends and other guest musicians, on the road for the Rolling Thunder Revue, a caravan of sounds that picked up Desire's gypsy troubadour aesthetic. It would be a while, a long while, before his music would contain this much spirit again”.

Prior to coming to a review for Bob Dylan’s Desire, I want to source a Rolling Stone article from 2016. It frames Desire as this exotic masterpiece, it is an album that contains “a gangster, a boxer, and one of Dylan's most personal songs”. I am not as familiar with this album as other Dylan works, but I have been listening a lot to it recently:

“Dylan thrived on chaos and chance while making Desire, a process that was a far cry from the heavily labored recording of his prior LP, 1975’s Blood on the Tracks. One night, Dylan was walking around Greenwich Village and was approached by Jacques Levy, a playwright and director who had previously written songs with Roger McGuinn of the Byrds. Dylan invited Levy to hang out that night at the Other End, a long-standing folkie haunt; later on, at Levy’s apartment, they wrote “Isis.” “He said these magic words, ‘I’d like you to write some stuff for me,'” Levy recalled before his death in 2004. They continued work at Dylan’s summer home in the Hamptons, writing songs with a much different flavor than the reflective tone of his last album. “I guess I never intended to keep that going,” Dylan said. “Sometimes you’ll get what you can out of these things, but you can’t stay there.”

Instead, these were sprawling narratives of outlaws and wanderers, with clearer storylines than anything Dylan had written in more than a decade. They included the cowboy-on-the-run tale “Isis” and “Joey,” the 11-minute saga of fallen gangster Joey Gallo. “I thought ‘Joey’ was a good song,” Dylan said in 1981. “I know no one said much about it.” Perhaps it was overshadowed by “Hurricane,” the story of former boxer Rubin “Hurricane” Carter, who had been convicted of triple murder in 1966. “I read his book and it really touched me,” said Dylan. “I felt that the man was innocent.” Though Dylan and Levy’s lyrics were riddled with factual errors (as was “Joey”), the song helped turn public attention to Carter’s case; his conviction was overturned in 1985.

The album’s atmosphere was also affected by a trip Dylan had taken to the South of France, where he had gone to a “gypsy festival” on his birthday. The gypsy imagery marked songs like “One More Cup of Coffee” and “Durango.” “I think ‘exotic’ is a good word to put on it,” said Levy. The only personal song on Desire is perhaps his most personal ever: “Sara,” a plea to his then-estranged wife, Sara Lownds, to return to him. According to Levy, Lownds showed up at the studio the night they recorded the song. “You could have heard a pin drop,” said Levy. “She was absolutely stunned by it.”

During recording, Dylan kept several studios going at once, filled with musicians (including Dave Mason and Eric Clapton) and non-musicians. Says bassist Rob Stoner, “They had opened up all the adjacent studios to accommodate all these hangers-on and buffet tables. It was just like a huge party. And it wasn’t conducive to getting any work done.”

Eventually, the rooms were cleared and a core group cut the entire album over two long nights. “There was just a level of excitement,” says Stoner. “Sessions were called for 7 p.m., and we only stopped at seven in the morning because that’s when they tow your car on that street. We didn’t want to lose the vibe. No drinking, no drugs, no nothing. It was pure adrenaline”.

Last year, Pitchfork wrote this extensive and incredible review of Desire. Revisiting a “wild slice” of Bob Dylan, Desire is “an album whose air of magic and misdirection remains utterly unique in his catalog”. It is arguable it would be a while until Dylan followed something as brilliant as Desire. Blood on the Track in 1975 and Desire in 1976. Two masterpieces. Arguably, it was not until 1989’s Oh Mercy when he regained some of that form:

“Desire is not a subtle album, and it does not commence on a subtle note. “Hurricane”—an audacious eight-and-a-half minute recounting of the 1966 arrest and conviction of the middleweight boxer Rubin “Hurricane” Carter on charges of triple homicide—begins with the interweaving and insinuating strains of Dylan’s acoustic guitar and Rivera’s violin. One of seven songs on Desire co-authored with the playwright Jacques Levy, it employs stage directions to set its scenery: “Pistol shots ring out in the barroom night/Enter Patty Valentine from the upper hall.” Intentional or not, the effect of the dramaturgy is to suggest a not-strictly-speaking-literal recounting of events, introducing the queasy sensation that we are being carried along by storytellers whose commitment to the facts is secondary to their impulse to thrill and desperation to deliver a higher truth.

Indeed, Dylan and Levy take considerable liberties with Carter’s biography and the case against him. He was never the “number one contender for the middleweight crown”; by the time of his arrest, he was circling boxing’s drain toward journeyman status. Neither did his long history of violence outside the ring comport with the beatific “Buddha” portrayed in the lyrics. Still, the song is one of Dylan’s greatest. The story’s grim particulars take root in your imagination: the ultra-violent crime, the summer heat and police lights, the racist cops and all-white jury sealing his fate. The band rolls along, a runaway sea of conga fills and furious energy. By the end no reasonable person could doubt Carter’s innocence, questionable though it may be.

Desire follows one epic with another: “Isis,” a bluesy slow-burn odyssey that considers the relative plusses and minuses of stealing from the dead for a living, like Marty Robbins’ “El Paso” by way of Leonard Cohen’s early frozen-song landscapes. Its account of a two-man grift gone wrong and the women caught in between post-dates Humphrey Bogart and pre-dates Better Call Saul, making for a perfect mid-point in that continuum of heroic losers.

Then the weirdness starts in earnest. “One More Cup of Coffee” and “Oh, Sister” are solemn and prayerful, filled with Old Testament dread and the echoes of an antiquity reaching further back still. “One More Cup of Coffee” seems to describe the morning after a confused night of romance, the narrator asking his erstwhile paramour for a shot of caffeine before he disappears into “the valley below.” “Oh, Sister” is one of several tracks on Desire sung in haunting harmony with Emmylou Harris. With its passionate interpolation of sibling and spiritual mandates, it’s one part Freudian fever dream and one part plea for familial oneness—Neutral Milk Hotel invented in four gorgeously unsettling minutes. “Oh sister, when I come to lie in your arms,” goes the first verse, “You should not treat me like a stranger.” I’m no psychologist, but it’s clear Dylan is dissociating here. The music’s leisurely grandeur only heightens the creeping horror.

[Scene 2: Marin County, CA, 1987. The legendary songwriter, now at a commercial and creative low point, rehearses with an iconic group from his 1960s heyday for a joint tour.]

The union of Dylan and the Grateful Dead was auspicious, but the context was strange. Riding an improbable wave of commercial excitement following their MTV hit “Touch of Grey,” the Dead were playing to the largest crowds of their career. Following a run of desultory ’80s-era albums, Dylan was decidedly not. Without the Dead as his backing band, there was no chance he would be playing stadiums at this dysfunctional juncture. During practices, the Dead requested old Dylan songs they might want to try their hands at playing. Dylan, for once in his life, wasn’t in much of a position to refuse. Preposterously, perfectly, and for all to hear on 1989’s live LP Dylan & The Dead, Jerry Garcia requests “Joey.”

A straggling Gemini-twin to “Hurricane,” Desire’s most indulgent composition whinges on interminably and borderline incomprehensibly about the gangland slaying of an objectively psychotic mafia figure named Joey Gallo. Dylan famously coined the aspirational phrase “to live outside the law you must be honest,” a formulation that “Joey” undermines in every way possible. If you wanted to make the case for “Joey” as his worst song, you might begin with the demented portrayal of Gallo as some manner of saint, whose ahistorical indulgences might be more persuasive had Dylan bothered to string them together with a shred of narrative logic. You might move on to the torpid melody, one of the least memorable he’s ever written. But hey, at least it’s 11 minutes long. The twist is, in the nimble, gleefully amoral hands of the Grateful Dead, this dismal composition became supple and agreeable. Somehow the Dead brought “Joey” back to life. There’s your graverobbers right there.

Desire’s final third leans further into Dylan’s obsessions with love, death, ecstasy, and the liminal spaces between. “Hot chili peppers in the blistering sun!” he exclaims on the opening line of “Romance in Durango,” a legitimately goose-skin inducing Tex-Mex boogie replete with the thrill of adventure and the promise of violence, an invigorating update to his 1973 soundtrack to Sam Peckinpah’s Pat Garrett & Billy the Kid. Its lyrics cross the distance between total fantasy and something like a true accounting of events. By the time of the lead cowboy’s inevitable sacrifice-by-desperado, he is so discombobulated that he begins interrogating the libretto itself: "Was it my hand that held the gun?” and “Can it be that I am slain?”

“Black Diamond Bay,” another long story song on an album full of them, is remarkably tuneful, ruefully ominous, and utterly batshit. I have been listening to it for two decades, and I still have no clue what is happening. There is a Greek man, a woman in a Panama hat, a soldier, a tiny man, a volcano. Portends of suicide and disaster percolate: scheming gamblers and sunken islands, betrayals and broken bonds, the kind of Book of Revelation stuff Dylan would get into full-time soon enough. Through some mysterious alchemy, its incoherence yields real beauty, abetted by an incredibly committed performance from his ace backing band—led by bassist Rob Stoner, another musician who figured prominently in Dylan’s career and then seemed to disappear. Try to grasp the details of “Black Diamond Bay,” or just let the imagery carry you away. Like everything on Desire, it’s all misdirection and magic anyway.

[Scene 3: Columbia Records recording studio, midtown Manhattan, 1975. An estranged wife watches her husband sing the song that he thinks will make all the difference. Will it matter?]

Album closer “Sara” is by orders of magnitude the most explicitly biographical song the notoriously private Dylan has ever released. He recounts in forensic detail the fraying of his union to Sara Lownds, his longtime wife and the mother of his children. Even by the contemporary standards of full-frontal psychic nudity, its oversharing is extremely uncomfortable. He conjures their babies playing on the beach. He marinates in his own mythology: “Stayin’ up for days in the Chelsea Hotel/Writin’ ‘Sad Eyed Lady of the Lowlands’ for you,” name-checking the sprawling closer of 1966’s Blonde on Blonde. He howls her name again and again: “Sara, Sara/Whatever made you want to change your mind?” Talk about blood on the tracks”.

I do hope that there are plenty of retrospective features about Desire ahead of its fiftieth anniversary on 5th January. Undeniably one of Bob Dylan’s greatest albums, it has this cinematic, surreal and sometimes personal narrative. A slight shift in terms of sound and direction, perhaps the greatest moments come from the collaborations with Jacques Levy. Black Diamond Bay and Isis being particular standouts. Fifty years later, and Desire still stands out as one of Bob Dylan’s most distinct and extraordinary albums. For those who feel it is one of Dylan’s lesser or less significant albums, I would say to you that Desire is…

WORTH a listen.

FEATURE: Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs: ‘The Concierge’ (Get Out of My House)/Lily, Gabriel, Raphael, Michael, Uriel (Lily)

FEATURE:

 

 

Kate Bush: Them Heavy People: The Extraordinary Characters in Her Songs

IN THIS PHOTO: Kate Bush photographed for NME on 13th October, 1982 in London/PHOTO CREDIT: Anton Corbijn/Contour by Getty Images

‘The Concierge’ (Get Out of My House)/Lily, Gabriel, Raphael, Michael, Uriel (Lily)

__________

THIS new feature…

IN THIS PHOTO: Kate Bush in a promotional photo for The Red Shoes in 1993

finds me pairing characters from Kate Bush’s songs. Her music is packed with these interesting people and characters. I will move to different albums for future editions. In this one, I am pairing The Dreaming with The Red Shoes. For The Dreaming, I am choosing ‘The Concierge’. I shall move to an eponymous character from one of The Red Shoes’ standout tracks. Before that, I am investigating one of Kate Bush’s most influential songs. In terms of this year. I have said before how some of the more experimental, bold and simply out-there music has been influenced by this song. Or The Dreaming. I am going to expand on that theory for a future feature. However, I listen to Get Out of My House and I can detect links to artists like ROSALÍA. Charli xcx for sure. I will end this half by speaking about her. ‘The Concierge’ is essentially Kate Bush casting herself in the song. I am going to come to an interview where she discussed the influence. However, 1982’s The Dreaming has a lot of dark psychology and dread. Kate Bush sunk everything into this album in terms of her time and patience. Working extremely long albums and moving between various studios, it was an exhausting process. War, cigarette smoke, tension and those at the point of danger and death. However, there are songs where Bush is open and personal. My abiding feeling about The Dreaming is this is Kate Bush truly going beyond the realms of the mainstream. An album she looked back on as a crazy time where she sort of went mad, Get Out of My House is the maddest song on a mad album! If some see if is as psychological terror, it is also horror, as it was inspired by Stephen King’s The Shining (1977). The novel was a Stanley Kubrick-directed film that was released in 1980. Whereas Bush drew heavily from film and T.V. for her songs, this was a rare occasion where literature was a driving force. Not the last time (Cloudbusting from Hounds of Love and The Sensual World from the album of the same name are other examples).

I guess ‘The Concierge’ is this spirit. Not a physical presence in this possessed house. It is Kate Bush as this ghost-like spirit warding off intruders and unwelcome guests. If some feel it is a direct nod to The Shining, I sort of get it is about her reaction to the press and her label. Maybe too demanding or critical, this is an artist still in twenties pushing back. Confined and claustrophobic, Bush delivers one of her most charged and exhilarating vocals. It is the vocal layering and the structure of the lyrics. Bush singing a line and then a backing vocal delivers an explosive single word. The urgency and terror through the song is Bush as this horror auteur. When writing for the Kate Bush Club Newsletter in October 1982, she said this about Get Out of My House: “As in ‘Alien’, the central characters are isolated, miles (or light years) away from anyone or anything, but there is something in the place with them. They’re not sure what, but it isn’t very nice. The setting for this song continues the theme – the house which is really a human being, has been shut up – locked and bolted, to stop any outside forces from entering. The person has been hurt and has decided to keep everybody out”. The Shining was one of the first books that truly terrified her. Bush revealed how the track changed quite a bit. Originally a lot longer than the album version (5:25). The second-longest song on The Dreaming (one second shorter than Pull Out the Pin), Bush said this to Company when they interviewed her in 1982: “The idea is that as more experiences actually get to you, you start learning how to defend yourself from them. The human can be seen as a house where you start putting up shutters at the windows and locking the doors – not letting in certain things. I think a lot of people are like this – they don’t hear what they don’t want to hear, don’t see what they don’t want to see”. Perhaps this was Bush taking on so much and trying to put out intrusive and bad people. It is a fascinating song to unpick! I think about her debut single, Wuthering Heights, and the ghost of Catherine Eaernshwaw trying to break through a window to get to Heathcliff. Gothic and frightening, if Wuthering Heights is more like someone trying to grab someone away, Get Out of My House is this chainsaw-wielding spirit. That pre-chorus where Bush sings “I am the concierge chez-moi, honey/Won’t letcha in for love, nor money” in this affected vocal. Kind of sexy and intense at the same time, it is like she is providing this measured and patient warning before the true explosion begins: “My home, my joy/I’m barred and bolted and I/(Won’t let you in)/(Get out of my house!)”.

The song intensifies and builds. Those not heading her warning are feeling the full affect. This person throwing up the shutters and bolting the door. Yelling out to those trying to get in: “This house is full of m-m-my mess/(Slamming)”. There are some extraordinary vocals on the song. Bush’s voice at once smoky and alluring; then it switches to this demonic and ecstatic scream. Paddy Bush providing backing vocals. Some ‘drum talk’ from the prodigious Esmail Sheikh. Perhaps the song’s defining moment comes when Bush and Paul Hardiman ‘eeyore’ together (as Bush changes “into the mule”). Referencing a moment in Disney’s Pinocchio where boys are turned into donkeys on Pleasure Island, a trap run by the sinister Coachman where misbehaving kids are cursed to become donkeys for slave labour; Pinocchio's friend, Lampwick, fully transforms, while Pinocchio escapes with donkey ears and a tail. This idea of Bush’s concierge kicking out these unwanted guests by transfmorgidtiny into a donkey. Like an animal letting out a cry or roar, it is the moment this person – either dead or alive – is at their most intense. In 202, Dreams of Orgonon discussed the track and its deeper meanings. Trigger warning to anyone reading the full post as it does discuss sexual and domestic abuse:

“Uncertainty pervades “Get Out of My House,” The Dreaming’s brutal culmination. Catalyzed by its beleaguering yet urgent drumbeat and a lacerating lead guitar part from Alan Murphy, it is confrontational and purgative in its spectacular vocal menagerie, all in dialogue (often call-and-response) with one another yet seemingly not of an accord, as the bombastic and tremulous delivery of “when you left, the door was…” is answered by the siren-like, low-mixed B.V.’s crying “SLAMMING!” Adhering mostly to 4/4, “Get Out of My House” revolves through dizzying sequences of repetitive chord changes, with its first verse in G# melodic minor, confined to a progression of i-IV (G# minor – C#), moving to the natural minor in Verse Two with a progression of i-iv (G# minor – C # minor), signaling a domination of brutal repetition and minor keys without catharsis. With one of Bush’s most agonized vocals carrying the refrain (a genuinely harrowing and throaty “GET OUT OF MY HOUSE!”), the song emits agony, trauma, and expulsion.

All this is clear-cut and blunt. The house is protecting itself from violation. Bush’s defense is cathartic madness, flamboyantly hee-hawing her way out of the song (evocative of Jack Nichsolon’s brays of “Daaaaaaannyyyyyyy!” near the end of The Shining). Trauma is unleashed as a weapon against its instigator. The house has a chance to fight back at last, or realizes it has the gumption to. The sexual abuse metaphors don’t need to be expanded on greatly — having a woman scream for her freedom from a hostile man or, chillingly, say “no stranger’s feet will enter me” speaks for itself. It is frightening and immediate, even moreso than “Breathing,” and a culmination of Bush’s sometimes half-baked and flawed but usually noble revolutionary instincts

Backing tracks laid down at Townhouse Studios, Shepherd’s Bush, London in May ’81. Overdubs recorded at Odyssey Studios, London in August ’81, and at Advision Studios, Fitzrovia, London from January through March ’81. Mixed at Advision from March through May ’81”.

Before we close this first side, it is worth noting how this song has taken on a new light in 2025. I mentioned Charli xcx earlier. Her incredible track, House, which features John Cale delivering this dark and gravitas-filled spoken part. Then we witness this explosion and change of tone. Cale’s delivery is wonderful. Line I can see influenced by Get Out of My House: “Let it be perfect/Am I living in another world?/Another world I created/For what?”. Charli xcx then mirrors the same sort of dark and demonic tone Kate Bush does in Get Out of My House during the chorus: “I think I'm gonna die in this house”. Many fans noted the similarities not only in terms of the title of both songs. Charli xcx’s House will feature on the soundtrack to Emerald Fennell’s Wuthering Heights soundtrack. The fact it is Wuthering Heights obviously has this Kate Bush connection. I can see House picking up from Get Out of My House and applying it to Wuthering Heights. Maybe Charli xcx embodying Catherine Earnshaw. The endless relevance of Kate Bush and how she is inspiring and shaping modern-day queens. Get Out of My House is perhaps not Bush’s most emotionally raw track, yet it is her most violent and frightening. Never performed live and not released as a single, it is one of those what-ifs when you imagine how she would stage this song. Taking inspiration from Stephen King’s The Shining, it is this under pressure artist taking advice and criticism in equal measures. People pushing and pulling her. This is almost a musical retaliation. Bush wanting her privacy and space and letting out a more animalistic side. Bush, as the person whose house is under threat, The Concierge, is at her most exhilarating here. Phenomenal production and a spellbinding vocal, this is one of the standouts from, I think, her most influential modern album. In terms of how influential it is to contemporary artists.

In terms of emotion and the sonic palette, Lily is a lot warmer. If Get Out of My House is all wind, rain, fire and shades of black, red and brown, Lily is warmer and more spiritual. Yellows, oranges and blues perhaps. This is an occasion of Kate Bush naming a song after a real-life person. A friend of hers. Faith, spirituality and realms beyond the physical and earthly are a big part of Bush’s musical tapestry. Woven from paganism, Celtic myth, Eastern mysticism, and a deep connection to nature, exploring themes of transformation, the divine feminine, consciousness, the unknown and mythologised, Bush has also covered and explored broader spiritual concepts like reincarnation and witchcraft. Although Lily is this mantra and prayer that Bush used as the opening song for her 2014 residency, Before the Dawn, its title nods to the late great Lily Conford. Bush immortalised Cornford because she was touched and impressed by her huge knowledge and intuition and kindness. Cornford was a proponent of mental colour healing. If considered pseudoscience by many, mental colour healing, or chromotherapy, is a holistic practice using colours and light to influence mood, energy, and mental well-being, based on the idea that different hues carry specific vibrational energies affecting the mind and body, often linked to chakras and ancient traditions. The idea of religion, spirituality and different beliefs in Kate Bush’s work could have its own chapter. Raised a Roman Catholic, Bush was never especially religious. However, she has said in interviews how, early in her career, she was on a mission from God. This mission to record music and be a success. Running Up That Hill (A Deal with God) is Bush talking to this divine spirit. Imploring that men and women can swap places to better understand one another. From Jesus and Gurdjieff in The Kick Inside’s Them Heavy People (who I will reference in a future part of this series), to Buddhist mantras in Strange Phenomena (from The Kick Inside again), to divine experiences and catching a glimpse of God in Suspended in Gaffa (from The Dreaming) to spiritual struggles you can hear on songs like Hounds of Love’s Cloudbusting, Bush has never espoused one philosophy or belief.

Her mention of astrology, the paranormal, the mystical and mythical and New Age philosophies has definitely influenced other artists. In terms of not being dogmatic and single-faith. Exploring different cultures and religions, I think Lily is much more personal. Bush putting her faith in the hands of this extraordinary woman who Bush befriended in the 1990s. The Red Shoes was released in 1993. Lily is the sixth song from her seventh studio album. Interestingly, it follows The Song of Solomon. This song uses  lines and themes directly from the biblical book, known for its intense, sensual poetry between lovers, often interpreted allegorically as Christ and the Church. But celebrated by many as pure human love. I am adapting that from an A.I.-generated search, though there are fan theories about this song. This interpretation argues that the track is “about The Song of Solomon, itself about a man's passionate love for a woman expressed through words, and her love which she gives him physically. "Comfort me with apples, for I am sick of love" "give me your poetry in motion...and sing it with a kiss". There is spirituality and divinity running through the opening verse of Lily: “Oh thou, who givest sustenance to the universe/From whom all things proceed/To whom all things return/Unveil to us the face of the true spiritual sun/Hidden by a disc of golden light/That we may know the truth/And do our whole duty/As we journey to thy sacred feet”. Bush sings about life blowing a hole right through her. Rather than seek comfort in escapism or succumbing to addiction and darkness, Kate Bush turns to this spiritual healer. The lines, “Gabriel before me/Raphael behind me/Michael to my right/Uriel on my left side/In the circle of fire” seem to have biblical connotations.

Michael and Raphael are prominent archangels mentioned in The Bible, though Raphael appears only in the Deuterocanonical Book of Tobit, considered scripture by Catholics and Orthodox but not Protestants. Michael is the warrior angel, leader of God's armies, mentioned in Daniel and Revelation, fighting Satan and defending God's people. Raphael is the healer and guide, helping Tobias in Tobit, using a fish's organs to cure blindness and bind a demon, embodying God's healing power. Gabriel is the name of an archangel in The Bible, known for delivering crucial messages from God, such as announcing the births of John the Baptist and Jesus. Rather than Lily being this healer who can cure Bush and lead her to the light, she is instead providing guidance. The song is this dialogue between Lily Cornford and Kate Bush. Lily very sagely saying to take what she says, “with a pinch of salt”. This plea to “protect yourself with fire”. Protect yourself with fire could refer to using the principles found in the Bible, often associated with the Holy Spirit and divine power, for spiritual protection. Although I am leaning a lot on the feedback and suggestions from search engines, I wanted to go deeper. I never connected Lily too heavily with The Bible and religion. I always assumed it was more about faith healing and a more general spirituality. However, the biblical imagery seems to be about Bush connecting with faith. Those written about in The Bible who were tested or those who endured these struggles. Lily Cornford sadly died in 2003. However, and thanks to Kate Bush Encyclopedia, we can discover more about this wonderful person:  “Together with Joseph Leech she established the Maitreya School of Healing in 1974. Lily has investigated many different aspects of healing but her primary area of interest was in direct, color healing-using her mind and her heart and her own hands directly with people.”.

If Get Out of My House is about dark spirits and is more demonic, Lily is more about angels and trying to find light and strength. For the Kate Bush Club Magazine in 1993, Bush said this about the wonderful Lily Cornford: “She believes in the powers of Angels and taught me to see them in a different light, that they exist to help human beings and are very powerful as well as benevolent forces. She taught me some prayers that I found very useful (particularly in my line of work), she helped me a lot and I guess I wanted to pass on her message about our Angels – we all have them, we only have to ask for help”. Before wrapping up, I have sourced before an interesting article from 2014, that discusses Kate Bush’s Shivaism, Dionysian and druid philosophy, and it opens by referencing Lily: “This song lyrically is an explicit magical ceremony, a literal invocation/initiation, in the style of the Rosicurician Orders, à la the Golden Dawn school of the western magical tradition. “Gabriel is before me, Raphael behind me ….. In the circle of fire”. This is key to understanding Kate. She has her own cult, her own mystery school tradition. Her unique strand of Shivaism, Dionysian and Druid philosophy, loosely wrapped up in a song and dance tradition. It’s part magical realism, overt nature spirituality and art house”. In future editions, I will reference real-life characters in songs from Kate Bush. Whether directly name-checking real figures or fictional people, the songs of Kate Bush are replete with these wonderful and curious people. Characters that are not necessarily human. The otherworldly and divine.

I love Lily, as it is this combination of a real-life friend of Kate Bush’s, though, there are biblical references and figures from The Bible. I have not mentioned Uriel. Though not referenced in The Bible, he is mentioned in apocryphal texts such as the Book of Enoch and 2 Esdras. He is identified as a prominent archangel, the ‘angel of wisdom’ or ‘fire of God’, who warns Noah of the Flood and enlightens the prophet Ezra. Lily has the rare honour of featuring on three Kate Bush albums. The original version from 1993’s The Red Shoes. A reworked (and arguably stronger) version on 2011’s Director’s Cut. It also appears on the live album for Before the Dawn, released in 2016. The Before the Dawn version has this rocking and harder edge compared to the version on The Red Shoes. Kicking off this feature with two incredible central characters and a few biblical support acts, it allows me to explore Kate Bush songs more deeply. Shining a light on corners that people might not have considered before. I am not sure what characters will feature in the second edition, though I think I will definitely go to The Kick Inside. I may even pair that with a character from Aerial or even Never for Ever. There is such a vast array to choose from! I must say a huge thanks to Joan LeMay. Initially, I was going to write a Kate Bush book that looked at characters in her songs and connected them with musical and culture references and inspirations. Chronological, album by album, I was going to approach each album like a film. The cast of characters in each. I may instead write a book about The Kick Inside ahead of its fiftieth anniversary in 2028. Quantum Criminals: Ramblers, Wild Gamblers, and Other Sole Survivors from the Songs of Steely Dan came from LeMay. Noticing the diverse characters in the Steely Dan world and that notion of exploring them. The text was written by Alex Pappademas, whilst Joan LeMay produced the beautiful artwork. Bringing these Steely Dan characters to life. Rather than replicate Joan LeMay’s idea, I am going to diversify and build in other elements for future parts. Connect cultural touchstones, historical moments and influences (musical and otherwise) and incorporate them into these character profiles. My exploration of the wonderful people ion the songs of…

A peerless artist and true original.

FEATURE: Groovelines: The Pogues (ft. Kirsty MacColl) – Fairytale of New York

FEATURE:

 

 

Groovelines

The Pogues (ft. Kirsty MacColl) – Fairytale of New York

__________

THIS is a Christmas classic…

IN THIS PHOTO: Kirsty MacColl and Shane MacGowan/PHOTO CREDIT: Tim Roney/Getty Images

that does not get talked about as much as others. Written by the late Shane MacGown and Jem Finer, it features the wonderful vocals of Kirst MacColl. It is sad that the two artists who sing on the track are no longer with us. However, there is this timelessness when it comes to Fairytale of New York. Released on 23rd Nov ember, 1987, this song went through a troubled development. Losing its original female vocalist and with these aborted attempts, it was eventually completed in October 1987. I want to start out with an article from The Guardian published in 2012. They look at the story behind Fairytale of New York. I am not including the whole feature, though there are parts of it that I feel are relavtrna and iolluminating:

“That song, Fairytale of New York by the Pogues, has just been reissued to mark its 25th anniversary; it has already re-entered the Top 20 every December since 2005, and shows no sign of losing its appeal. It is loved because it feels more emotionally "real" than the homesick sentimentality of White Christmas or the bullish bonhomie of Merry Xmas Everybody, but it contains elements of both and the story it tells is an unreal fantasy of 1940s New York dreamed up in 1980s London. The story of the song is a yarn in itself: how it took more than two years to get right and became, over time, far bigger than the people who made it. As Pogues accordion-player James Fearnley says: "It's like Fairytale of New York went off and inhabited its own planet."

Appropriately for a song that pivots on an argument, there is disagreement as to where the idea originated. Fearnley, who recently published a memoir, Here Comes Everybody: The Story of the Pogues, remembers manager Frank Murray suggesting that they cover the Band's 1977 song Christmas Must be Tonight. "It was an awful song. We probably said, fuck that, we can do our own."

Singer Shane MacGowan maintains that Elvis Costello, who produced the Pogues' 1985 masterpiece Rum, Sodomy & the Lash, wagered the singer that he couldn't write a Christmas duet to sing with bass player (and Costello's future wife) Cait O'Riordan.

Either way, a Christmas song was a good idea. "For a band like the Pogues, very strongly rooted in all kinds of traditions rather than the present, it was a no-brainer," says banjo-player and co-writer Jem Finer. Not to mention the fact that MacGowan was born on Christmas Day 1957.

The Pogues had formed amid the grimy pubs and bedsits of London's King's Cross in 1982. Although their name ("Pogue mahone" means "kiss my arse" in Gaelic) and many of their influences were Irish, most of the band weren't, and their interest in folk songs and historical narratives roamed far and wide. They aspired to timelessness.

Finer first tried writing a song about a sailor missing his wife at Christmas but that was dashed on the rocks by his own wife, Marcia Farquhar, who called it "corny", says Finer. "So I said OK, you suggest a storyline and I'll write another one. The basic plotline came from her: this idea of a couple falling on hard times and coming eventually to some redemption." He says there's a "secret history" to the story: "a true story of some mutual friends living in New York."

MacGowan, whose contribution to this piece comes in the form of a dialogue written by long-term partner and biographer Victoria Mary Clarke, declines to elaborate: "Really, the story could apply to any couple who went anywhere and found themselves down on their luck."

While Finer retained the uptempo reel from his abandoned maritime tale, MacGowan worked on the slower verses and chorus. The singer had never seen New York but it was on his mind. As the Pogues toured Europe in autumn 1985, they almost wore out a video of Once Upon a Time in America, Sergio Leone's epic tale of Jewish mobsters in interwar New York. (Ennio Morricone's elegiac title theme seeped into Fairytale's opening melody: don't all good fairytales start with "Once upon a time"?)

In Here Comes Everybody, Fearnley writes: "A stable perception was never reachable as to whether Shane was a genius or a fucking idiot." There is the public image of MacGowan as a wayward alcoholic with a bombsite of a mouth and a wheezing ghost of a laugh. Then there is the clever, diligent craftsman who sweated for two years to make Fairytale of New York perfect.

The first demo was recorded by Costello at the same time as The cinematic romance of A Rainy Night in Soho, MacGowan's first song to draw on his love of Frank Sinatra and Judy Garland. When he brought that song into the studio in early 1986, Fearnley remembers: "He meant business, much more than before. It was awe-inspiring to see him in the rehearsal room with his suit on and an attitude."

A short time later, in February 1986, the Pogues finally made it to New York itself, to start their first ever US tour, and they weren't disappointed. "It was a hundred times more exciting in real life than we ever dreamed it could be!" says MacGowan. "It was even more like New York than the movies!" After their debut at a club called the World, their backstage visitors included Peter Dougherty, who came to direct the video for Fairytale of New York, and actor Matt Dillon, who appeared in it. MacGowan remembers Dillon, the rising star of Rumble Fish and The Outsiders, kissing his hand and saying: "I dig your shit, man, I love your shit!"

It was a year later that Murray approached U2 producer Steve Lillywhite to helm the next Pogues album. The sessions at London's RAK studios in the unusually hot summer of 1987 went so well that the band decided to have another crack at Fairytale. When they said they were struggling to blend MacGowan and Finer's sections, Lillywhite's solution was absurdly simple: record them separately and edit them together later. "It was a beautiful time," says Lillywhite. "I got the Pogues when they were really firing and before too much craziness got involved. As long as I got them early in the day it was great."

Fearnley was tasked with arranging the strings (a job completed by Fiachra Trench) and colouring in the scene- setting piano part, drawing on Tom Waits, Aaron Copland and Leonard Bernstein's score for On the Waterfront. "I wanted to get American music into it," he explains. MacGowan originally wanted the orchestra to interpolate the refrain from Have Yourself a Merry Little Christmas but "Phil Chevron [Pogues guitarist] told me that was a bad idea. He was right."

Only one hurdle remained. Cait O'Riordan had left the band in October 1986, leaving nobody to complete the duet. "I think at some point almost any female with a voice was a contender," Finer jokes, mentioning fellow RAK clients Chrissie Hynde (feasible) and Suzi Quatro (less so). "One person I certainly hadn't thought of was Kirsty [MacColl] and I don't think anyone else had."

"To be honest they weren't 100% convinced that Kirsty was the right person," says Lillywhite, who was married to MacColl. She was well-liked but her solo career was becalmed due to stage fright and contractual problems. Lillywhite suggested recording MacColl's part at his home studio over the weekend and seeing what the band thought. "I spent a whole day on Kirsty's vocals. I made sure every single word had exactly the right nuance. I remember taking it in on Monday morning and playing it to the band and they were just dumbfounded."

But MacGowan, who was so impressed that he re-did his own vocals, insists: "I was madly in love with Kirsty from the first time I saw her on Top Of The Pops. She was a genius in her own right and she was a better producer than he was! She could make a song her own and she made Fairytale her own." (Since MacColl's tragic death in 2000, her part has been taken by singers including Sinéad O'Connor, Cerys Matthews, Katie Melua, Victoria Clarke and Jem Finer's daughter Ella.)

In the finished version the story finally acquires the ring of truth, but it's still teasingly elliptical. Does the argument take place after the man leaves the drunk tank or does the whole song unfold in his sozzled head? After all, Once Upon a Time in America is told almost entirely in flashback. And while the "cars big as bars" and the singing of Galway Bay (a 1948 hit for Bing Crosby, beloved of Irish immigrants) place the action in the 1940s, MacGowan suggests that the characters are much older, remembering their glory days.

And can we trust the narrator anyway? "The guy is a bum who is living on the street," says MacGowan. "And he's just won on a horse at the unlikely odds of 18-to-one, so you're not even sure he is telling the truth." He says that both characters are versions of himself. "I identified with the man because I was a hustler and I identified with the woman because I was a heavy drinker and a singer. I have been in hospitals on morphine drips, and I have been in drunk tanks on Christmas Eve."

The song's brilliance is sealed by its final verse when MacGowan protests, "I could have been someone", and MacColl shoots back: "Well, so could anyone." Then MacColl accuses, "You took my dreams from me," and MacGowan responds, with all the warmth he's been withholding: "I kept them with me babe/I put them with my own." So in its final iteration the chorus is no longer a tauntingly ironic reminder of better times but the tentative promise of reconciliation. "You really don't know what is going to happen to them," says MacGowan. "The ending is completely open."

The Pogues shot the video in New York during Thanksgiving week. The air was bitterly cold and fairy lights twinkled in the trees. Matt Dillon played the NYPD officer who arrests MacGowan but he was too nervous to manhandle him until the shivering singer snapped: "Just kick the shit out of me and throw me in the cell and then we can be warm!" Contrary to the lyrics, the NYPD didn't have a choir, so Dougherty hired the force's pipe band instead. When it turned out that they didn't know Galway Bay, they mouthed the only lyrics they all knew: the Mickey Mouse Club chant”.

It is clear that Fairytale of New York is unorthodox. In terms of its lyrics and sentiments, it differs from the more traditional songs. The argumentative and occasionally bitter nature of the song clashing against the more optimistic and wholesome images projected in Christmas songs. However, that is what makes Fairytale of New York so special. In 2023, The New York Times published a feature about this enduring classic:

“Fairytale of New York” was a departure, quite literally in one sense: If England was for seeking work, America was for seeking dreams. (“They’ve got cars big as bars/ They’ve got rivers of gold.”) It was also a move away from documenting the reality of their lives. Mr. MacGowan had apparently never been to New York when he started writing it but dreamed up an enchanted place and a down-on-their-luck couple who’d tried to make it there and failed.

The song’s title was inspired by a novel of the same name by the Irish American writer J.P. Donleavy. Some of what we know about the song is somewhere between fact and lore: There was either a bet, from Elvis Costello to Mr. MacGowan, that he couldn’t write a downbeat Christmas song, or the band’s managers had simply appealed to them to write a hit. Jem Finer, the band’s banjoist, initially wrote the music as a maudlin sailor’s song, but his wife, Marcia Farquhar, nudged him toward the version we know. Mr. MacGowan wrote the lyrics in a feverish struggle with pneumonia in Malmo, Sweden.

The lines Mr. MacGowan trades with the singer Kirsty MacColl are as much fencing (“You took my dreams from me”) as dance (“I kept them with me, babe/I put them with my own”). It’s as intimate and uneasy as hearing an argument through thin walls, and yet it’s epic, too, conjuring the snowbound canyon streets of Manhattan. It rejects the Christmas song as snow globe fantasia as effusively as it rejects the delusion of youthful, dewy-eyed romance.

That it is a duet is a perfect expression of another thing that made the Pogues great. The magnetic force of opposites: punk and folk; love and destruction; beauty and brutal honesty; falling snow and pools of vomit.

It’s a fairy tale in the manner of the Brothers Grimm, an unsparing lesson in how life is rather than how it should be. Years wasted in dead-end, badly paid jobs. The self-obliteration that follows in the free time you do have. The falling-apart surroundings and the vulnerability of needing someone else (“Can’t make it all alone/I’ve built my dreams around you”). It’s a song of exile, too. But it’s not necessary to leave the country you’re from for it to mean something to you. You don’t even have to leave home — age will do it.

Some of the London-Irish pubs of the ’80s that the Pogues would have known are still the same today, but the workplaces and digs around them have changed — new precariousness for newer migrants. And “Fairytale” is no longer a cult, alternative Christmas song; it’s ubiquitous. But there are still moments when a line from it can steal upon my soul (“When the band finished playing/They howled out for more”) and remind me of the lesson I first half-wittingly gleaned as a kid in that record store. The life in all of us is worthy of a song”.

I am ending with a review of Fairytale of New York from The Mix Review that looks more at the composition and the complexity of the music. In terms of its structure, it is not as straightforward as you might imagine. One of the best Christmas songs, I guess we need to finish by talking about some of the controversy:

“First off, the song’s structure is unusual in many respects. To be honest, the traditional ‘verse/prechorus/chorus’ section labels feel a bit inadequate here, but just for the sake of discussion let’s say we have verses at 0:10 (“It was Christmas Eve”), 0:44 (“Got on a lucky one”), and 2:48 (“I could have been someone”); prechoruses at 1:29 (“They got cars big as bars”), 1:41 (“You were handsome”), and 2:15 (“You’re a bum, you’re a punk”); and choruses (“The boys of the NYPD choir”) at 1:53, 2:27, and 3:13. Broadly speaking, that leaves us with the following basic song layout:

• Verse 1

• Verse 2

• Prechorus 1

• Prechorus 2

• Chorus 1

• Instrumental based on the Prechorus

• Prechorus 3

• Chorus 2

• Instrumental based on the Verse

• Verse 3

• Chorus 3

• Outro

Honestly, I can’t think of any other song quite like it, and things are made even more unorthodox by the transition from slow 4/4 simple time for the opening two verses into a faster 12/8 compound time of the remainder of the song – in particular, I love the way this recasts the verse material in compound time at 2:48. Not that this kind of tempo/metre gearshift is uncommon in the folk music styles from which The Pogues drew so much inspiration. It’s just that this tactic has so rarely made its way into the charts! There’s also a metric flexibility here that I strongly associate with the folk-music traditions of many different cultures. For example, The Pogues aren’t afraid to drop a beat from the end of the second verse, thereby starting the little intro recap at 1:17 a little earlier than expected – or indeed to drop three beats from the end of that intro recap compared with its initial two-bar statement at the very start of the song. And then when the verse section repeats in its compound-time version at 2:48, it’s extended by a beat instead, effectively building anticipation towards the final chorus.

I also like how the chorus always feels like it’s going to be four bars long, but each time its fourth bar is kind of stolen to be the first bar of the subsequent song section, in other words the instrumental prechorus at 1:53, the instrumental verse at 2:36, and the outro at 3:22. And, in a sense, this same technique is at play with that shortened intro recap, where the intro section’s original second-beat move to the tonic D major chord is repurposed in the recap as the first downbeat of the 12/8 section.

Another great feature of this song is that, although it only uses pretty straightforward D, G, A, and Bm chords, their harmonic rhythm (ie. the rhythm with which those chords change) greatly improves the musical impact and interest. A lot of songwriters aren’t very imaginative in this respect, sticking to some kind of regular rhythmic pattern for the whole timeline. Maybe they’ll use a simple chord-per-bar scheme, as in Harry Styles’ 'As It Was'; or two bars per chord like Wham’s ‘Last Christmas’; or two chords per bar like Imagine Dragons’ 'Radioactive'. And there’s an army of songs that alternate straight and pushed chords – just off the top of my head I can think of Billie Eilish’s 'Everything I Wanted', Ed Sheeran’s 'Thinking Out Loud', Otis Redding’s '(Sittin' On) The Dock Of The Bay', the Spin Doctors’ ‘Two Princes’, and Tracy Chapman’s ‘Fast Car’.

The Pogues, on the other hand, are much more inventive, contrasting the general chord-per-bar feel of their verses with the faster chord-per-beat prechoruses, but also speeding up the chord changes towards the end of each verse section as a kind of structural punctuation as well. The chorus is my favourite moment in this regard, however, with a cool sort of accelerating harmonic rhythm where a full bar of G is followed by two half bars of D and Bm and then a chord-per-beat rhythm for the remaining D, G and A chords.

So all in all, I think I can see where MacGowan was coming from when he referred to this song as the band’s ‘Bohemian Rhapsody’, because I think there’s a lot of musical nuance hiding under its veneer of simple Christmas singalong”.

The controversy around Fairytale of New York centres on homophobic slurs and strong language used in the lyrics, depicting a drunken, bitter argument between a man and woman, leading to debates about artistic freedom, censorship, and cultural sensitivity, with the BBC controversially censoring or editing the words for radio play, despite listener backlash and The Pogues’ defence of the song's authentic, albeit harsh, portrayal of marginalised characters. Whatever you think about the homophobic content of the song and whether Fairytale of New York should remain unedited, there is no denying the fact it is a classic. One that I feel is as strong as any other Christmas song. Even though it is not going to win any chart battles, it is this alternative favourite that it has been great learning more about. Even though Shane MacGown and Kirsty MacColl are no longer here, their legacy and incredible voices remain. Their chemistry on the track is clear. They released something magical thirty-eighty years ago. Go and put on Fairytale of New York and…

PLAY it loud.

FEATURE: The Digital Mixtape: Emma Bunton at Fifty

FEATURE:

 

 

The Digital Mixtape

PHOTO CREDIT: Mark Hayman

Emma Bunton at Fifty

__________

I have to mark…

IN THIS PHOTO: Emma Bunton alongside her fellow Spice Girls, Geri Halliwell, Mel C, Victoria Adams and Mel B, in 1996/PHOTO CREDIT: Universal Music Group

the upcoming fiftieth birthday of a music giant. One-fifth of the legendary Spice Girls, Emma Bunton has also released some incredible solo music. Though people will know her best for her work alongside her fellow Spice Girls. There is hope that the quintet will reform one day. Do some more live work. I am not sure what it will take for them all to be on the same page, but you feel something might happen soon. The group’s debut single, Wannabe, was released on 8th July, 1996, so there may be some thirtieth anniversary celebration. As Emma Bunton turns fifty on 21st January, I have assembled a mixtape of some of the best Spice Girls moments and some solo cuts. Before that, AllMusic provide a biography of Emma Bunton and her fascinating career:

“English singer/songwriter Emma Bunton is best known as one fifth of the turn-of-the-century pop group the Spice Girls. After capping a whirlwind global takeover with their blockbuster late-'90s albums, the members pursued various solo paths that fit their personalities and musical upbringings. For the former Baby Spice, this meant a focus on bright dance-pop inspired heavily by 1960s French pop and Motown. Bunton issued her debut A Girl Like Me in 2001, following with a pair of efforts that carried her into 2006 with Life in Mono. Working behind the scenes with other artists and participating in various Spice Girls-related reunions and activities over the years, she released her first official album in over a decade, My Happy Place, in 2019.

Emma Lee Bunton was born on January 21, 1976, in Barnet in north London. She kept busy with extracurricular activities such as modeling and doing commercials. Bunton's time spent at St. Theresa's Roman Catholic primary school was typical, yet her passion for her hobbies turned full scale as she spent her formal theater years at Sylvia Young Theatre School. Already a natural in front of the camera, she left secondary at 16 and began studying drama at Barnet Technical College. It would be several years later that she met the group that would make her a star.

Bunton was still a young, bubbly teenager when she was christened Baby Spice in 1994. The rest of the decade was a whirlwind of winning the world over with the Spice Girls' infectious pop energy. Five years spanned a career in entertainment, and at the dawning of the new millennium, Bunton had other ideas. She was now a woman in her twenties with a bright mind full of creative ideas. Her soul sisters were already moving on with solo projects and Baby Spice wouldn't be left behind.

Free Me

She guested on Tin Tin Out's "What I Am" in 1999, but two years later, a fresh-faced Bunton returned with her debut album, A Girl Like Me. Its first single, "What Took You So Long?," shot to number one on the U.K. Singles Chart during its first week of release in mid-April, sustaining a two-week reign. Bunton became the only Spice Girl to have a solo single stay at number one for more than one week. Her chart success continued into 2003 with "Free Me" and "Maybe," two singles from her second effort, Free Me. The sophisticated pop sound caught on with fans and earned Bunton her third hit, "I'll Be There," in 2004. Free Me was released in the States in early 2005, and her third album, Life in Mono, in 2006.

Greatest Hits

The Spice Girls re-formed in 2007, releasing a Greatest Hits album and embarking on a sold-out worldwide tour. They later launched a musical, Viva Forever, based on their songs, and performed at the 2012 London Olympic Games. A second reunion tour, sans Beckham, was announced for 2019; in the months preceding it, Bunton launched her own fourth solo album, My Happy Place. Produced by Metrophonic and heralded by the '60s-style single "Baby Please Don't Stop," it was composed almost entirely of cover versions of some of Bunton's favorite songs by the likes of George Harrison, the Bee Gees, and Norah Jones”

Many happy returns to Emma Bunton for 21st January. Part of this historic group that were a massive part of the 1990s and inspired so many other artists, let’s hope there is more music from her at some point. My Happy Place was in 2019, so you would imagine there are some new songs ready to be put onto an album at some point. Because this fantastic artist turns fifty on 21st January, below is a mixtape of some standout solo and Spice Girls songs. Few have had a career more illustrious and successful…

THAN Emma Bunton.

FEATURE: A Masterpiece of a Title Track: Kate Bush’s Hounds of Love at Forty

FEATURE:

 

 

A Masterpiece of a Title Track

IN THIS PHOTO: Kate Bush and Gow Hunter in the video for Hounds of Love/PHOTO CREDIT: John Carder Bush

Kate Bush’s Hounds of Love at Forty

__________

WE had…

some incredible Kate Bush celebrations last year. Hounds of Love, her fifth studio album, turned forty on 16th September. It did garner a lot of new interest in this masterpiece. There are two singles from the album that are forty this year. I will look at The Big Sky closer to its fortieth on 21st April. However, Hounds of Love’s title track turns forty on 17th February. There is a lot to note about the song. Kate Bush wrote the title track at her house early on in the recording process for Hounds of Love. It reached eighteen on the U.K. singles chart. It seems incredibly low for such a remarkable song. Many critics see it as her greatest song. Hounds of Love has this remarkable video that Bush directed. The first time she directed herself, though she did co-directed and assist on videos before this. I have written about this song quite a few times. I am going to repeat some information that I have used in other features. Kate Bush discussing the song and what influenced it. However, as it turns forty on 17th February, there are new things to bring in. Thanks to the Kate Bush Encyclopedia. We get some interview archive about this astonishing song:

“[‘Hounds Of Love’] is really about someone who is afraid of being caught by the hounds that are chasing him. I wonder if everyone is perhaps ruled by fear, and afraid of getting into relationships on some level or another. They can involve pain, confusion and responsibilities, and I think a lot of people are particularly scared of responsibility. Maybe the being involved isn’t as horrific as your imagination can build it up to being – perhaps these baying hounds are really friendly.

Kate Bush Club newsletter, 1985

The ideas for ‘Hounds Of Love’, the title track, are very much to do with love itself and people being afraid of it, the idea of wanting to run away from love, not to let love catch them, and trap them, in case the hounds might want to tear them to pieces and it’s very much using the imagery of love as something coming to get you and you’ve got to run away from it or you won’t survive.

Conversation Disc Series, ABCD012, 1985”.

I do wonder why Hounds of Love was not considered as the first single from the album. As strong as Running Up That Hill (A Deal with God) is, I wonder if Hounds of Love would have got a stronger chart position is it was released first. I think the video is one of Kate Bush’s very best. Although Running Up That Hill (A Deal with God) was the first song Kate Bush wrote for Hounds of Love, its title song led to that album title. It is such an interesting idea for a song. That idea of portraying love in this way. I wonder how many other artists before that used animals as metaphors for love. If you look at the album cover – shot by her brother, John Carder Bush -, Bush is lying down and embracing her two hounds, Bonnie and Clyde. They are sleepy and non-threatening, so it maybe offers an opposite take on the title track. The connection between the cover and the track. Maybe the cover shot is Bush taming those chasing hounds. Although we do not see dogs chasing Bush in the video, there is that suggestion that something in the dark is chasing her. Perhaps not literal hounds, there is this spirit or psychological shadow that seems like hounds baying for blood. Instead of talking about heartbreak and doubts in a traditional or cliché way, Kate Bush took this different approach. The fear of commitment and being committed was something preying on her mind. Rather than run from these chasing hounds, perhaps they are friendly and are not scary. It is this idea that I have not really heard other artists exploring. Such a clever angle from Kate Bush! As much as I love other title tracks, there is something about Hounds of Love that stands aside. Bush seemingly running away from love but also towards it. She was dating Del Palmer at the time she wrote the song. Perhaps, a point in life when others her age might have been getting married and having children, that might have been looming in her mind. Bush maybe committed to music and work and putting her relationship aside. It is wonderful to pick Hounds of Love apart and what compelled her to write the song.

I will round things off soon. When MOJO ranked Kate Bush’s fifty greatest tracks for their feature, they put Hounds of Love at number one. I think a lot of journalists today would share that love and opinion. From its writing, performance and production, this is a masterpiece that will always be relevant. Themes and thoughts that so many people can identify with. There are so many takeaways from the lyrics. I shall come to that:

“No matter how refined the circumstances of its creation – built at leisure in Bush’s new 48-track studio – or how newfangled its production – still tangible in the hi-tech stabs and pads of Fairlight, and the crispness of Jonathan Williams’ cello – Hounds Of Love is red in tooth and claw, its breathless, atavistic fear of capture mixed with almost supernatural rapture. Love is thundering through the psychosexual woods, hunting down somebody terrified of what it means to surrender to another person. The song opens with a quote from British horror film Night Of The Demon but that’s the only moment it feels like theatre. From then on, Hounds Of Love maintains a dizzying emotional velocity, the relentless double drumming of Charlie Morgan and Stuart Elliott stamping down on the accelerator. Bush’s voice might dip and soften, but those drums are merciless, while the strident backing vocals, like a hunting horn call, goad her on if introspection threatens to slow her down. It never lets up, every line heightening the pitch, closing the distance between song and listener. It ends with a suddenness that makes it seem like she’s hit the ground and you’ve hit it with her, breathlessly waiting for an answer to the question: “Do you know what I really need?” The uncertainty, however, is not reflected in the confidence – the perfect, dazzling completeness – of the song’s execution. On Hounds Of Love, Kate Bush is going at full pelt, chasing the horizon, running her vision to ground. Not really the hunted, but the hunter all along”.

In terms of lines that stay I your head, there are so many: “Among your hounds of love/And feel your arms surround me/I’ve always been a coward/And never know what’s good for me”. Also: “Take my shoes off/And throw them in the lake/And I’ll be/Two steps on the water”. The poetry in those lyrics. Whilst other artists would offer something more basic and ordinary, Kate Bush’s choice of language is fascinating. More cinematic and visual than anything. Writing a song that she definitely wanted to see visualised. It is a shame that I could not get a ticket for 2014’s Before the Dawn and see Kate Bush perform this live. It is one of those songs that is not talked about as much as others, yet it is perhaps her crowning achievement. I might pick apart the lyrics for another feature. When it comes to a lyric I just referenced, Bush explained its meaning to Doug Alan in 1985: “In the song ‘Hounds Of Love’, what do you mean by the line ‘I’ll be two steps on the water’, other than a way of throwing off the scent of hounds, or whatever, by running through water. But why ‘two’ steps? Because two steps is a progression. One step could possibly mean you go forward and then you come back again. I think “two steps” suggests that you intend to go forward. But why not “three steps”? It could have been three steps – it could have been ten, but “two steps” sounds better, I thought, when I wrote the song. Okay”. I did not know about the 12” version of the song and how it is different to the album version. I prefer the version we hear on the album, though it is really interesting hearing this other version. Even though I do not like their take, Futureheads covered it in 2004. I said this when discussing the song last year for a run of features around the fortieth anniversary of Hounds of Love. How the band suck all the power and drama out of the song and turn it into this weird versions that is more dancey and jokey. Quirky and just odd. I am not sure why people love this cover! Listen to the only version that matters: the one Kate Bush recorded. Turning  forty on 17th February, I wanted to spend some time with this incredible song. One that is always going to hold this amazing resonance and gravity. It send shivers down the spine when you play it! Whilst some might argue, there are many who consider this iconic title track…

HER finest work ever.

FEATURE: Kate Bush in 2026: How Do We Keep Potential Fans Engaged Without Any Big Anniversaries?

FEATURE:

 

 

Kate Bush in 2026

IN THIS PHOTO: Kate Bush in a promotional photo from 1989

How Do We Keep Potential Fans Engaged Without Any Big Anniversaries?

__________

NEXT year…

IN THIS IMAGE: And If I Only Could I’d Make a Deal With God by Susie Hamilton

is going to be very different to this one when it comes to Kate Bush. As I have said in another feature, this one has been pretty busy in terms of album anniversaries. We have celebrated forty-five years of Never for Ever, forty years of Hounds of Love and twenty years of Aerial. Kate Bush gave an interview earlier in the year about the animated video for Little Shrew (Snowflake). She has posted updates and there has been a lot of activity. Bush put out Best of the Other Sides. This was released because of fan demand. There was War Child Presents Sound and Vision and Kate Bush bringing together fifty-two artists to interpret a lyric from Running Up That Hill (A Deal with God). I have missed some stuff out. The point is, there has been a lot happening this year. In 2027, it will be the forty-fifth anniversary of The Dreaming (her fourth studio album) and fifty years since she signed with EMI. 2028 is going to truly huge. However, what comes next year? I have written a feature about the fortieth anniversary of Hounds of Love’s fortieth anniversary. The Dreaming’s Sat in Your Lap turns forty-five. No big album anniversaries. Kate Bush cannot really remaster anything more. In terms of other anniversaries, I guess there is some stuff from 1976. Apart from Kate Bush taking her driving test twice in 1976, there is not too much we can celebrate from that year. However, that EMI deal is a milestone: “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.]”. This year has provided us some treats. I do like Best of the Other Sides, so I wonder whether there could be any reissues or compilations that could satisfy fan demand.

After Stranger Things used Running Up That Hill (A Deal with God) and its streaming numbers were given another boost – something I will focus on in another feature -, there is building interest in Kate Bush. More and more fans coming her way. We cannot know for sure whether Bush will release a new album next year. She may wait until 2027. Of course, there will be opportunities for Kate Bush to post to her official website. I am sure that there will be stuff happening. Maybe another project like she did with artists creating images based on some famous lyrics. That was tied to Hounds of Love turning forty or Running Up That Hill (A Deal with God) very much being in the spotlight. I can see nothing coming next year that would provoke celebration and a lot of new fan interest. Journalists tend to tie any celebration and specials around album anniversaries. Rarely spotlighting albums and work unless there is a big anniversary or something like the Stranger Things boom. 2026 is going to be a bit sparse in that sense. Kate Bush is aware that a lot of new listeners have discovered her work, so they will need to look back and do their own research and digging. Will Kate Bush give any interviews and will there be any news coming? Maybe not. I think there will be a lot of requests from filmmakers to use her music, though I don’t feel we will get any big viral moments where one of her songs has this new lease because it is used on the small or big screen. I don’t know if any Kate Bush books will be published, so it is all up in the air at the moment. Unless there is new music released, will there be a bit of an issue keeping new fans engaged or recruiting new ones?

I guess it is not a major concern. The momentum Kate Bush’s music has at the moment and the fact many modern-day huge artist are inspired by her and cite her as such means that this will keep some heat on her. However, next year is one where there are few natural and notable opportunities to keep her music in the spotlight. I am sure that Kate Bush will be active in other ways. I did get the impression, when she spoke with Emma Barnett at the end of last year, that she was done when it comes to retrospection and anything other than new music. That keenness to do something new and engage in the recording process. If we don’t get an album until, say, 2027, what fills the gap in 2026? I would say it is a perfect opportunity to remind people about Kate Bush’s music in general and how we do not need to peg everything to big anniversaries or wait for these viral moments. I do hope there is more exploration of songs and albums not talked about as much as others. I have been looking more closely at The Sensual World and how fascinating that period was. In 1989, as we headed to the end of a decade where Kate Bush released four albums, Bush was releasing some of her most remarkable work. I do hope that we get a documentary or two. Kate Bush is probably not keen to feature in any of them, but I know for a fact one that I am involved in comes out next month. Maybe there will be books about her. Perhaps another entry in the 33 1/3 series (after Leah Kardos’s Hounds of Love book from last year). It is vital that we keep hooked those who may have discovered Kate Bush through Stranger Things. Or younger listeners that have discovered her in other ways. Also, hook in those who do not know about her. 2026 is not going to have many anniversary opportunities and these projects where Kate Bush’s name will be out there. It is going to be hard to follow…

SUCH an eventful 2025.

FEATURE: Butterfly Kisses: Exploring the Possibility of Mastered Version of Kate Bush’s Early Demos

FEATURE:

 

 

Butterfly Kisses

IN THIS PHOTO: Kate Bush as a child was photographed by her brother, John Carder Bush. This photo would appear in his book, Cathy (first published in 1986)

Exploring the Possibility of Mastered Version of Kate Bush’s Early Demos

__________

PERHAPS this could never happen…

but I think the early recordings and demos from Kate Bush should be remastered and given a layer of gloss. Kate Bush has remastered her studio albums and recently brought out Selections from the Other Sides. I wonder how many people know about these earliest recordings. Maybe going back as far as 1972. There is a sense of privacy about them. Bush never wanting them to be heard by the public. There have been some unauthorised and bootlegged albums with Kate Bush demos and early recordings. As Kate Bush Encyclopedia say in this article, Alone at My Piano was released in 1988. It is fascinating thinking about these tracks. Maybe hit and miss in terms of quality, I do feel like there is a case to make some available more widely. Perhaps Kate Bush would not want this to happen. Think about all the artists coming through that are inspired by Kate Bush, I feel like having access to these early recordings would be really inspiring. It gives us insight into this incredible artist as a teenager or child. There have been so many bootlegs through the years. This article is about another 1988 compilation. This time, concerning live performances. Also, in this article, we learn more about the first volume of the Cathy Demos. I would love to hear a remastered version of A Rose Growing Old. Such fascinating lyrics: “Slipping past the chimney-pots/Down among the ashes, away from old times/Why must I self-indulge in memories?/I should be celebrating to a moving melody/But it hurts me, it hurts me/Honey, honey, it hurts me/And I’m feeling like a rose growing old/Old, old, old, old”. This demo from 1976 might have been considered for Kate Bush’s debut album, The Kick Inside, though it was never realised officially.

I am not sure whether Kate Bush would be as against the idea of releasing her demos as she might have been a few years ago. Even if they are scratchy and a little lo-fi, most are out there anyway. People can access them. Wouldn’t it be better to have these available in a better form? I guess it would technically not be a remaster, as these are demos and not studio recordings. Kate Bush’s videos have not be upgraded to HD or 4K, so it might be a leap to think she would go back fifty years and bring out a compilation of her demos. The fact we are talking about 1976 means that a fiftieth anniversary retrospection next year would be desirable. You can read more about the history of her demos here. We can go back as far as 1972. This was when Kate Bush was thirteen/fourteen. She was probably not be referred to as ‘Kate#. More likely her full name, Catherine, or Cathy. This school-aged child putting to tape her very earliest ideas. 1976 is when we are talking about the fifth recordings. You can read more about them here. Discogs have some tracklisting here. Maybe an odd anniversary to mark, it is worth exploring 1976 and significant events happening then. Bush signed with EMI in 1976. These are all really important moments. In 2011, Record Collector examined the cutting room floor. The demos and early recordings that many fans might not know about. They look at, among other things, the pre-fame, post-signing period between 1976 and 1977:

“A four-year contract was signed in 1976 and Kate was given time out by EMI to develop. She explained on the BBC’s Tonight show in March 1978, “I signed the contract and there was just feelings that we weren’t sure how to handle it. I myself felt I was very young and not capable of handling the business… And I think they were also worried that I was too young, and that they were looking on it as a long-term project.” Kate moved to London, where she shared a house with her brothers and continued to develop her vocal style at the honky-tonk piano she had bought with some of her EMI advance. She studied dance in Covent Garden under Bowie’s former mentor Lindsay Kemp, and would later recall her daily schedule. “I’d get up in the morning, I’d practise scales at my piano, go off dancing, and then in the evening I’d come back and play the piano all night. And I actually remember well the summer of ’76… we had such hot weather I had all the windows open. And I just used to write until, you know, four in the morning. And I got a letter of complaint from a neighbour who was basically saying ‘Shut up!’, because they had to get up at like five in the morning, they did shift work, and my voice was being carried the whole length of the street I think, so they weren’t too appreciative.”

In 1989, a batch of demos from this period surfaced, representing the first significant leak of Kate’s demo material. Initially dubbed the Phoenix collection, they went under this moniker as the recordings were originally broadcast on Phoenix radio station KSTM by former EMI employee John Dixon, who had been instrumental in plugging The Kick Inside to America. Confusingly, the broadcast seems to have taken place some seven years prior to the leak, so it seems uncertain as to why the tapes took so long to reach wider circulation. It consisted of 22 piano demos including five songs that turned up in more developed form over her first three albums: The Kick Inside and Oh To Be In Love, on The Kick Inside; Hammer Horror and Kashka From Baghdad on Lionheart; and Violin on Never For Ever. Three tracks from The Early Years tape also appeared in more refined form – Something Like A Song, The Gay Farewell and Disbelieving Angel – while the other 14 remain unique to this collection. There has been some debate over the correct titles of these tracks and they have circulated under a bewildering variety of names. Fortunately the titles were read on air during the Phoenix broadcast, presumably from the original tape box, and we present those titles here as they are, most likely, the titles as written by Kate: The Kick Inside (Brother)/Hammer Horror/It Hurts Me/Stranded At The Moonbase/Kashka From Baghdad/Surrender Into The Roses/Oh To Be In Love/Rinfry The Gypsy/On Fire/Inside A Snowball/Dali/Where Are The Lionhearts/Violin/ The Craft Of Love/The Gay Farewell/Something Like A Song/Frightened Eyes/The Disbelieving Angel/Nevertheless You’ll Do/Come Closer To Me Babe/So Soft/The Rare Flower/While Davy Dozed. The set first appeared in cassette form and suffered from major quality degradation: the tracks ran too slowly and the levels were muddied. However, a series of bootleg EP releases titled The Cathy Demos – issued in five 7” volumes over the following few months – had clearly been pressed from the master recordings as they had a remarkably clear sound and none of the speed issues horribly clear on the tapes. As a final surprise, the fifth volume debuted a song titled Organic Acid, a lengthy piece consisting of Kate singing and playing to accompany brother John’s reading of one of his poems.

It wasn’t present on any recordings from the Phoenix broadcast. It’s unfortunate that bootleg CDs of this collection – issued under many titles such as Cathy’s Home Demos, Practise Makes Perfect, Alone At My Piano, Shrubberies, If You Could See Me Fly, Passing Through Air – have all been sourced from inferior quality tapes, all of which run far too slowly and are compromised by audio deterioration. The best, Alone At My Piano, comes from a fairly acceptable version of the Phoenix tape. The worst are taken from bad vinyl pressings of the inferior tape sources. More than 21 years from their appearance, the best source remains the five 7” Cathy Demos EPs. In December 1993, Kate was questioned at length about the possible official release of the demos on the Toronto radio show Modern Rock Live. Her response: “Um, no.” Having mastered her vocal style and with a clutch of finished songs at her disposal, the next step was public performance, so with the help of her brothers, Kate recruited a group, The KT Bush Band. Their pub sets mostly comprised standards from the Stones, The Beatles, Marvin Gaye et al, but James & The Cold Gun, a track which appeared on The Kick Inside and which presumably exists as a piano demo, was debuted at these gigs. We can be confident that some of the shows were recorded because in 2009, Del Palmer posted a recording of the band performing Come Together in surprisingly good quality on his MySpace page. And while Kate isn’t at her best covering The Beatles, a greater insight into the brief live history of The KT Bush Band would be more than welcome and evidently possible”.

I do love the demos and things that she did before her first professional recordings. However, so many of these songs are in such a basic format. It is a shame that there is not this desire to master/remaster them. You could say that most artists have early demos and they do not make them publicly available. However, there is such this fascinating body of work before her professional career that I think are really important and could be made more widely available. A fifty year loom back at those Cathy Demos and those songs. In terms of the quality and endurance of these songs, there are some that maybe are a little similar and will pass you by. However, there are some real diamonds. Kate Bush might be totally against the notion. She has remastered her albums and has no issue looking back. These demos are a vital part of her legacy, and there are so many people that would love to hear these home-recoded songs in better condition. These are remarkable recordings and show where Kate Bush would soon head. A glimpse into…

WHERE this genius began.

FEATURE: The Original Red Shoes… Will We See a Kate Bush Memorabilia Auction in 2026?

FEATURE:

 

 

The Original Red Shoes…

IN THIS PHOTO: Kate Bush in 1993/PHOTO CREDIT: Guido Harari

Will We See a Kate Bush Memorabilia Auction in 2026?

__________

THERE are a lot of questions…

IN THIS PHOTO: Kate Bush in 2011 in a promotional for 2011’s Director’s Cut/PHOTO CREDIT: John Carder Bush

and theories I am going to put forth when it comes to Kate Bush in 2026. I shall not expand on this here, as I am will do so in another feature, but next year is going to be a quieter one regarding Kate Bush. In terms of album anniversaries and big events, there is not as much potential as there was this year. However, I have been thinking of non-album events and anything connected with Kate Bush. I have written about Kate Bush in terms of an exhibition or museum. How you should have this exhibition that celebrates her work. Kate Bush is a big David Bowie fan and has been since she was a child. Bowie has had this V&A exhibition and celebration. Spotlighting this icon and his incredible legacy. Maybe she would find that too exposing. However, I do think there is scope to have a photo exhibition or something bigger. However, I don’t think it is the case that there is nothing in the vaults. Kate Bush has ac auctioned stuff before, though it tends to be signed stuff. Occasionally, you get rarities and things that have not seen the light before. In terms of memorabilia, you can go to auction sites and find signed things and rarities too. Not a lot that would really stand out. I mean like set designs from The Tour of Life (1979) or anything from her video shoots. I can’t believe that everything has been destroyed or given away. I do feel like there is this archive or artefacts and incredible things that could raise much-needed money for charity. I am thinking more in terms of costumes and possessions that appeared during her career but that time has passed. Perhaps Kate Bush would see this too as exposing, but as it would be for charity and she could make money for incredible causes, I am curious why this has not been done before.

IN THIS PHOTO: Kate Bush in 1979 during The Tour of Life/PHOTO CREDIT: Rob Verhorst/Redferns

In a previous feature, I have asked whether outfits from photoshoots or things that appeared in The Tour or Life were kept. You imagine they must be somewhere. Look at the music videos through the years, and you can see all of these amazing visuals. Whether it is the set or what Kate Bush is wearing, has everything been given away? Most artists have relatives or estates that do keep stuff like this. Rarer recordings or things that have not been announced. It is great that Kate Bush will sign albums and that can raise money, though fans would probably bid more for something more oriignal and deeper. It would not be this lurid thing, fans vying for outfits and costumes. As Kate Bush will probably not have enough in storage where there could be this Bowie-like exhibition, surely there are a few things that she has kept aside that could raise money. For me and so many others, it is a chance to own a piece of Kate Bush history. She has remastered and reissued albums. Perhaps the priority is on that side of things. However, Kate Bush has not really given much away when it comes to anything personal outside of music. The average fan might not be able to afford many of the artists that would be auctioned. However, we have this visual and audio archive on Kate Bush and you sort of wonder whether anything physical remains. If there is nothing in the vaults regarding unheard music or outtakes, does Bush have a similar attitude when it comes to memorabilia and artefacts? Not wanting to put anything out there that is not authorised or complete.

Kate Bush is a huge supporter of charities like Crisis and War Child. She has raised money for the latter recently, and I believe she will want to keep this going into next year. How will she do that? She could sign some albums, though I feel like this has been done enough and it seems a bit basic. Also, and maybe I am alone, but I do not find an autographed album that exciting. It is a lot of money to spend on something with a squiggle on it. However, a unique piece of clothing, set or anything related to Kate Bush is much more tantalising. If next year is going to be a very quiet one, I think that Kate Bush will think about charity and something bigger. Maybe this has been done before, though I have been looking on search engines and trying to find something. Maybe back in the 1970s, 1980s and 1990s, there were these times when fans could get their hands on some Kate Bush memorabilia. Beyond the T-shirts, albums and signed things. I don’t have a specific list, yet there are items I hope exist that I would love to bid on. I mentioned The Tour of Life, so any of these costumes or, better, designs or even original programmes would be really amazing. I love the hat Bush was wearing in the Them Heavy People video. I think it is a fedora. As that was nearly fifty years ago, you would imagine that has been disposed. You hope that Bush had foresight that she needs to keep some of this stuff but has never talked about it. A lock-up or somewhere these items have been stored. Even as recent as 2014’s Before the Dawn. For those who were not there – including me -, there are items from that residency that would be great to own. I do wonder where it all goes, and my fear is that a lot has been destroyed. However, Kate Bush is full of surprises and you can never say for sure that she would not have kept things that could be auctioned. War Child would benefit hugely if there was this memorabilia auction. Let’s hope, next year, that some of these wonderful items…

COME to light.

FEATURE: No Nostalgia Here: Why Talk '90s to Me Strikes a Personal Note

FEATURE:

 

 

No Nostalgia Here

IMAGE CREDIT: Podmasters

Why Talk '90s to Me Strikes a Personal Note

__________

ONE of the best new podcasts…

IN THIS PHOTO: Miranda Sawyer/PHOTO CREDIT: Sophia Evans/The Observer

out there is Talk '90s to Me. You can see the podcast on YouTube and listen to it on Audible. Follow it on Instagram and TikTok. It is hosted by the brilliant Miranda Sawyer, whose brilliant book, Uncommon People: Britpop and Beyond in 20 Songs is out now. I have listened to the audio version. Sawyer interviewed a lot of Britpop/1990s artists, though her most notable and talked-about one might be when she spoke with Oasis’ Liam Gallagher in 1995. Gallagher said he hoped Blur’s Damon Albarn and Alex James would die of AIDS. That quote made front-page news. Her new podcast is really incredible. I was a teenager in the 1990s, and I think that there are misconceptions about the decade (Miranda Sawyer was a guest on this recent podcast, answering the question around how we remember the '90s). Rather than it being a nostalgia podcast or a show like Fearne Cotton’s Sound of the 90s, this is one that examines and explores different aspects of '90s culture. It is a shame not that much is written about it. The Guardian did select it as one of their picks ahead of the first episode of the podcast in August: “Miranda Sawyer gets into full-on nostalgia mode in this series dedicated to the days of Cool Britannia, Girl Power, Trainspotting and much more. If you’ve not had your fill of Oasis yet, her first episode is a loving deep dive into fandom and how one Mancunian outfit went where no 90s band had gone before. Says former Q editor Ted Kessler, it all came down to the Gallaghers’ undeniable strain of “electricity … chaos and anarchy”. Miranda Sawyer is an incredible journalist, and she wrote about Cool Britannia earlier in the year for Tatler, as Oasis reformed and hit the road. For Talk '90s to Me, Sawyer spoke with Blur’s Dave Rowntree, and we do get some perspectives into Britpop and that time. The podcast does correct some misconceptions and mis-impressions. Rather than guests talking fondly about the time and there being no depth, we get this wider examination of the decade.

From musicians to comedians and authors, the range of episodes already out there is incredible. Aside from music, Miranda Sawyer and her guests have talked about iconic films, culture moments and T.V. shows. Sawyer is a brilliant interviewer and dives really deep. Incredible research and this amazing rapport with her guests, I do hope that the podcast lasts for a very long time. I do think that I get a bit nostalgic about the 1990s and what it was like. I hope a future episode explores what it was like for women and the realities for them. In terms of the tabloids and the imbalance and discrimination that was rife through the decade. I have been thinking about festival headliners and how few women were headlining. It is clear that the 1990s was a blast and a hugely memorable time. In terms of pop culture especially, it was monumental. The music was particularly fine and influential. I have blocked out a lot of the '90s and what was happening. Getting insights into events like the KLF burning a million quid, the different boybands that were around in the decade, to the significance of shows like Seinfeld, I have reassessed the decade and connected with things I had forgotten. I wonder if there is a book that looks more generally about these topics. A wider look at the 1990s. I want to move to The Times and their four-star review of Miranda Sawyer’s Talk '90s to Me:

“If you’re my age, listening to people talk about the 1990s is rather like being forced to endure a conversation about a legendary party you weren’t invited to. You might term the affliction generational fomo. Look, I’m glad you all had a marvellous time taking Ecstasy and voting for Tony Blair, but do you have to rub it in? I find myself assuming a glazed expression. “A pervasive sense of cultural optimism, you say? Oh, [wincing] that sounds wonderful … and the music was brilliant too? How nice for you. And low house prices as well? [grimacing now] … well I’m glad you had such a good time … but if you’ll excuse me I have to wail despairingly to myself in that corner over there.”

I would very much like to believe the Nineties were not all they were cracked up to be. Maybe the reasonably priced houses and inexorable spread of liberal democracy had a downside? Alas, the journalist Miranda Sawyer’s brilliant (but upsettingly joyful) new podcast Talk ’90s to Me confirms it was indeed a blast. Damn it.

“There is an optimism throughout the Nineties,” she observes to her second guest, the Trainspotting author Irvine Welsh (what Nineties podcast would be complete without him?). Welsh suggests the decade “really started in ’87 [or] ’88”. The crucial factor was rave. “People just started dancing in fields and factories.” Sawyer suggests that in the rave scene “you got that mix of characters that wouldn’t have met … spotty students, football hooligans”. That discovery of unexpected unity among different kinds of people led to “a certain optimism that kick-started that decade”. Unity …? Optimism …? Truly, the past is another country. We millennials prefer to subsist in ever tinier cultural niches while using the internet to abuse anyone even slightly different from ourselves.

At least I can console myself with the thought that I would have loathed raving and taking drugs in fields. Blissfully dancing outside experiencing a sensation of ecstatic oneness with thousands of my fellow human beings sounds like hell on earth to me. It’s one aspect of Nineties fun I’m glad I missed out on. In some ways I suppose it’s nice to belong to a generation for whom introversion and social incompetence are de rigueur. And compared with that of your average pasty, porn-addled, bed-bound, TikTok-hypnotised Gen Z misanthropist my social life looks like something out of The Great Gatsby.

Welsh is rather stern on the dullness of the young. “I was at a festival outside of Dublin at the weekend,” he says. “And I’m thinking, I’m having a good time and I’m … I’m dancing. But the drug intake, the alcohol intake compared to how this would have been 20 odd years ago is just, it’s practically nothing.” It’s a weird unnatural inversion of the old days when puritanical elders used to chide the young for their fast-living ways. Instead, Welsh thinks young people should “be getting out and having a bit of fun and causing a bit of mischief, you know?” Have fun? Cause mischief? Absolutely not.

I liked Welsh’s semi-mystical explanation for why the decade was so enjoyable. “The Nineties was the last party,” he says. In the same way that before a “tsunami the animals know that something’s coming”, people had an intuitive sense that “the internet was coming”, with the impending tyranny of algorithms, AI, big tech and the hollowing out of the cultural industries. So people thought, “Let’s take everything from every era we’ve enjoyed … because it might be a long time before we can have it again.” Nonsense, of course, but a compellingly eerie thought”.

Not that I have any cache to talk about anything from the 1990s but, for me, it was the music and the physical media. The magazines and the tangible nature of music and how that fostered my love of music. So much of what has already been covered on the podcast has really hit me on a personal level. In terms of the music episodes, my favourites have been around Madonna and George Michael. Guests John Sizzle and Jack Guinness sharing their expertise and insights. I am going to wrap up in a minute. I want to bring in this review before I wrap up:

“Journalist and broadcaster Miranda Sawyer had a front seat to the various cultural machinations that defined the ’90s. She has recently captured this time perfectly in book form with her fantastic Britpop book, Uncommon People, and so she is uniquely placed to provide a fresh viewpoint on a decade that has already been poured over ad nauseum across several mediums. And so, it makes sense for Sawyer to return to the decade again with her new podcast, Talk ’90’s To Me…

While many of the topics covered so far are well worn touchstones by now (Oasis, Princess Diana, Nirvana etc), Sawyer also shines a light on some of the darker, less well-travelled corners of the ’90s with episodes on George Michael, The Prodigy and Madonna, and while some of the topics she chooses are clearly alien to her (she must be the only person of her generation not to have an in depth knowledge of Friends), the addition of various guests ensures that there is always at least one expert on hand to provide compelling insight.

The guests cover the full gamut of ’90s pop culture with musicians (Dave Rowntree from Blur), writers (Ted Kessler, Andrew Harrison) and fashionistas (Plum Sykes) and this holistic view is what ensures that Talk ’90s To Me never feels like a podcast that is treading over the same old ground. While there is definitely an absence of working class voices (Sawyer herself sounds almost comically posh – her pronunciation of ‘Blur’ as ‘Blurrrrrrrrrgh’ is particularly jarring), this is also a reflection of the lack of the working class representation in the arts in general, although the ’90s was a lot more diverse in terms of class within the arts than the cultural landscape we find ourselves in now.

Talk ’90s To Me works for both grizzled ’90s survivors such as myself and for newcomers alike. I can’t wait to see where it goes from here. It has the potential to become the most essential ’90s podcast since Quickly Kevin, Will He Score?”.

I do think that there are these deep-rooted impressions of the 1990s. Maybe we get too misty-eyed or nostalgic. Whilst Talk '90s to Me is positive and we do get to hear guests talk about amazing films, shows, music and events from the decade, there is a deeper side. Some of the darker elements. The podcast has this rolling playlist (which I am including at the bottom), where a guest selects their '90s track. Mine would be Charles and Eddie’s Would I Lie to You? If you have not heard or seen the podcast then do go and check it out, as I really love it! Rather than this blast of empty nostalgia, Talk ‘90s to Me is, in its own words, a podcast that is about “Diving deep into a wild decade of chaos, creativity and hedonism – from Oasis to ‘Friends’, from grunge to girl power, from Kate Moss to alcopops to ‘Trainspotting’ and beyond. Join award-winning Observer journalist and Smash Hits graduate Miranda Sawyer as she meets the people who were really there for the decade of Cool Britannia, Cantona and the Chemical Generation”. Spend some time in this wonderful decade celebrating….

THESE common people.

FEATURE: Spotlight: Absolutely

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Emily White for NOTION

Absolutely

__________

EVEN if I do not like…

 PHOTO CREDIT: Emily White

her musical moniker, there is no denying the fact Absolutely is a remarkable talent who is going to have a massive 2026. I am new to her, so I wanted to include Absolutely here. Before getting to a new interview, I want to go back to 2024. In 2023, Absolutely released her debut album and supported RAYE on her 21st Century Blues World Tour. NOTION spoke with Absolutely about her incredible rise and debut album, in addition to her love of fantasy and sci-fi:  

“In a universe where genres collide together and innovation sparks, Abby Keen, known by her stage name Absolutely, creates music that seems to transcend time itself. Her other-worldly R&B melodies echo as if journeyed from a distant future, before gracefully landing at their rightful destination: Earth.

Absolutely has previously worked behind the scenes, co-writing hits for big name artists like Normani, Saweetie, David Guetta, Anitta, and Tinashe, to name a few. But now, she boldly steps into her own celestial spotlight as a solo songwriter. Her debut album, Cerebrum, released in 2023, pushes back against conventional music, elevating her creativity to new heights.

Growing up in a musical household with her Ghanaian-Swiss mother and English father, Absolutely and her older sister, global star Raye, developed a deep love for gospel, soul, jazz, and church music. Inspired by her upbringing and guided by her profound connection to God, spirituality and the cosmos – Absolutely is light-years ahead, creating her own distinctive world of experimental beats and bold dreamy soundscapes. 

Congratulations on the release of your debut album, Cerebrum. You described each track on the album as corresponding to a different room or chamber of your mind. What inspired you to take this conceptual approach?

Although the thirteen songs on Cerebrum are all sonically and lyrically very different, they all co-exist in the same world. I view the songs as an artistic translation of everything that goes on in my mind. They all inspired different feelings in me and so each song is my expression of that particular feeling. I find it difficult to express myself verbally, but speaking in music comes naturally to me – I always say that music is like my first language. I speak through melodies and the words come after.

Do you draw inspiration from any other sources, such as in literature, film, or personal experiences?

I love everything about sci-fi and fantasy. I’ve always had quite a big imagination and I grew up loving fairy–tales and fictional stories. I even used to make my own little story books. I think that childlike imagination never left me, it’s just expanding and evolving. I love to create new worlds, visually and sonically, into something that doesn’t already exist so that I can escape. My friends and family have always said that I’m a big daydreamer and I space out a lot, that is probably because I mentally run away to these places in my head, places that nobody else can see but me. I’m excited now that the more I create, I’m able to share these worlds with fans.

Could you describe the emotions you hope your listeners will feel as they immerse themselves in your musical journey?

A huge goal of mine, for the music I’m creating, is that I want it to wake up every cell in our bodies so that we snap out of the trance that life has us caught in. It’s so easy for us to take for granted the beauty within the small details of the world and I believe that we were created to immerse ourselves in the many wonders of God’s creation. However, the leaders of this world want us to be stuck in a system that benefits them, where we are numb to our surroundings and we go through the motions in a version of the world where everything is grey and where every day feels the same. I want my music to make us remember that we are here to enjoy our lives and to spark something in people that they may have forgotten ever existed. Through my music, I hope people can feel seen and free to just be”.

There are a few more interviews that I want to cover off before closing. CLASH chatted with Absolutely in August about sisterhood, All Points East and maintaining honesty. Even though she released her debut album in 2023, I think 2026 is going to be the biggest year for her yet. I believe she is going back on the road with RAYE for her new tour:

“A self-expressed introvert, it took Absolutely – Abby-Lynn Keen – some time to truly find herself onstage. It took a disastrous support slot with FLO – when myriad technical difficulties forced her offstage – and a pep talk from her loving father for Absolutely to come into her own. “Oh I was so scared!” she recalls. “But then my Dad took me to one side, and just said: look, what’s the worst that can happen? And I just let go. I let go of all those thoughts, and realised that I’m just here with people.”

It’s this everyday girl-next-door charm which makes Absolutely such a riveting figure. She’s writing as much for her peers, her friends, as herself and this lets her lyrics resonate with honesty. Take ‘I Just Don’t Know You Yet’ – an undoubted breakout moment, it came from a daydream at home.

“I was in my bed thinking really heavily about my future husband,” she laughs. “It was just really on my heart, and I had this spiritual connection to him somehow, without knowing who he was or why I was thinking about him… so it was really strange.”

When she went to the studio with Dave Hamelin, the two clicked into this emotion, and the song “just poured out… it honestly came together really easily.”

“I feel like he’s not like chasing anything,” she says of her studio comrade. “A lot of producers I’ve worked with feel like they’re trying to chase something that sounds like a hit. But he’s led by his freedom of creation. And it’s really fun, because I love creating whatever I feel like.”

Reflecting on her 2023 debut, she notes that “I wasn’t paying too much attention to the story and the lyrics. I just went, well alright… and whatever came out, came out. But now I’m focussed on what I want to say on each song – which takes longer, but the songs are deep, and intentional.”

With a flurry of live shows – and a fashion week event with her sisters – coming up Absolutely is itching to get back into the studio. “I’m gonna try and make more music,” she says firmly. “I feel like I’ve been in a space for the first time where I haven’t been creating as frequently. Usually, I’m prolific, so I want to get back to that space.”

As a kid, Absolutely adored the vocal range of Ariana Grande, but more recently she’s been vibing with Imogen Heap and Caroline Polachek, in addition to mainstays like Stevie Wonder. This is what soothes her, and inspires her – these are the people who she views as embodying success.

“Success is me being able to be 100% myself and not compromising that,” she notes. “And sometimes I feel like I have to do a little bit of that… you know, to play the game of the industry. But I want to get to a place where I can just do me whenever I want to”.

This interesting interview from PRINCIPLE that I want to drop in. Next year is a really busy one for Absolutely. She is supporting RAYE and Reneé Rapp. There is also possibility of a second studio album. The Tooting-born artist is one that everyone needs to listen to. She is a major talent who is rightly being seen as someone to watch closely:

“Despite no headline shows yet, you’re still very booked and busy. Next year, you are supporting RAYE and Renee Rapp in huge venues across Europe and North America. Does the aspect of performing to crowds that big now just excite you? You had the taste of an arena show last year when you supported RAYE at The O2. Now you’ll be playing there six times!

I’m honestly really excited. I feel like the O2 Arena show felt like my music belonged there. I feel like my music is so anthemic and huge that when I performed it at The O2, it was like, ‘Oh, okay, this is where my music’s meant to be.’ And I felt oddly really comfortable on that stage more than in the theatres. I’m excited to do an arena tour. I’ve been wanting to do that for a long time.

Your new single, “I Just Don’t Know You Yet,” went down a storm at All Points East. It’s quickly become your biggest song to date and has introduced your music to a new audience who are now probably going back and listening to your catalogue. What’s it been like seeing the song grow?

It’s been pretty crazy. I was on tour with BANKS when the song started getting a lot of attention. It was really surreal. I was just seeing millions of likes, millions of views, all happening so fast. And then even seeing in real life when I would go into a random gas station in the middle of America, where people would be like, ‘Oh my gosh, you’re Absolutely!’ Like, that is so crazy and random. It happened so quickly. Within a week of teasing it, everybody demanded that I release the song. I was kind of in a tough situation with my team, trying to get everything done. But yeah, it was surreal and it is still surreal, but exciting.

What is it about the song that you believe has captured people’s attention?

Well, for me, when I was writing it, it was so pure and honest. And I think it was one of the first times that I had written a song based on a concept that I had, which was my future husband. I had him really heavy on my heart for some reason. That was like the first time where I had that feeling of really wanting to talk about it. The message is just so pure and authentic. I think a lot of people relate to the feeling of wanting that true partner. It’s also just a really big power ballad that’s very emotional. It’s a good song to scream in the car.

You mentioned a new album there, which you have talked about in other interviews. Is it done and ready to go?

I have all the songs. There are maybe two songs that I have to tweak and add a couple of things, but it’s pretty much done. I have to decide which couple of songs I’m gonna have to let go of, which is very difficult. It’s a couple of songs too many right now, but I’m very close.

How many songs do you have right now, and what is the number you want to whittle it down to?

I think I have 15 now, and I want to get it down to 13. It costs a lot of money, and I have top dog producers now, so I’ve got to get them paid right. 15 might just be a tiny bit too much.

Now that your career is reaching new heights, have your goals shifted?

I think even at the end of this album stage, like finishing this album, I’m now in a different space, which is that I want to not cover my voice so much. I feel like a lot of the music I’ve made previously has a lot of vocal effects. I’m not gonna get rid of that because that’s part of my sound, but I wanna make sure that my voice is cutting through because I think my voice is what really connects with people and not just the busyness and the production. I think the next phase after this second album is gonna be a lot more upfront vocals that are less busy with great songwriting”.

Let’s end with a brilliant new interview from Rolling Stone UK. Absolutely (Abby-Lynn Keen) talks about her second studio album, Paracosm. “For Keen, the album is a reminder, a motto to not lose sight of your child-like imagination. “I realised that I needed to reignite that wonder again and I think I managed to do that,” she recalls. As she scribbled down lyrics and slotted in studio sessions around a busy schedule, Keen started to notice her album come together. Her lead sin-gle, ‘I Just Don’t Know You Yet’ amassed a cult following online, with fans asking her to release a studio version, as well as a live one. She became more confident with developing new skills, like production, and putting her twist on her music”:

“Your first album, CEREBRUM, came out in 2023. How has the world-building and creative process been different for your upcoming record? 

The process of creating it was very different to the first one. [CEREBRUM] kind of made itself. I would go to the studio, do melody passes, write lyrics, and later I’d come back one day to finish it. We made the whole album in a few months, but with this second album, I definitely paid way more attention to detail. It’s been two years since I started making it, and it has been so many different versions of itself. I have a whole [record’s worth of songs] that didn’t make the album that’s sitting in my untitled folder. I spent a lot more time making sure that everything was intentional. I spent multiple sessions going back in and seeing how many layers could be added and reinterpreted. 

Albums are expensive, and touring is costly as well. Little Simz famously talked about the difficulty of financing tours and new projects. What have been your biggest industry obstacles? 

There’s a lot of pressure, but I think my love for music just overrides everything. I love making music so much. I love songwriting. I love the whole art of putting a song together and creating visual worlds. There are some difficult aspects – of being in the public eye and doing interviews. 

You’ve got an album on the way and a new single, ‘No Audience’, out very soon. What are you hoping fans will take away from your next project? 

I hope people hear the album, because I spent so much time on it, I would just love lots of people to be able to hear it. I’d like it to help people reignite their imagination again. I don’t know if I’m hoping for anything in particular, because everything that I want is already happening, like the tours. I’m really excited about my album coming out. Everything’s already mapped out”.

I am going to end there. Anyone who is unfamiliar with Absolutely needs to seek her out. Ahead of the release of her second album, go and check out what has come before. 2026 is going to be her year. After laying down these foundations, support RAYE and establishing herself as this incredible and distinct artist, the future is looking very bright. Be certain to put Absolutely…

ON your radar.

___________

Follow Absolutely

PHOTO CREDIT: Frank Fieber for PRINCIPLE

Instagram:

https://www.instagram.com/the.absolutely

TikTok:

https://www.tiktok.com/@the.absolutely

Spotify:

https://open.spotify.com/artist/4ellgkPyhbJetngXmHX5Zh?si=h9-uPgfWSpqQ3-Q8Mg_TGw

YouTube:

https://www.youtube.com/@the.absolutely

FEATURE: The Digital Mixtape: Selections from NME’s 50 Best Songs of 2025

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Chloe Qisha/PHOTO CREDIT: BLACKSOCKS for NME

Selections from NME’s 50 Best Songs of 2025

__________

THERE are polls coming out now…

IN THIS PHOTO: Sam Fender/PHOTO CREDIT: Press

and more we will see this month that collate the best songs and albums from the year. I will not cover all of them, though I was intrigued by NME and their top fifty songs of the year. There are tracks in there from the likes of Chloe Qisha, Sam Fender, and Florence Road. It is a brilliant selection of the best cuts from this year. I would agree with a lot of the selections, so that is why I am including them here. Rather than all fifty, I have whittled them down to my favourites from the list. However, do go and check out their article and the fifty songs. It is an amazing representation of one of the strongest years for music for years. I am excited to see what new and existing artists offer up…

IN THIS PHOTO: PinkPantheress/PHOTO CREDIT: River Callaway

IN 2026.

FEATURE: Kate Bush: The Tour of Life: The Novembers and Decembers of the Music Icon: 1978-1986

FEATURE:

 

 

Kate Bush: The Tour of Life

IN THIS PHOTO: Kate Bush on 28th November, 1979 at The Melody Maker Pop Awards at the Waldorf Hotel, London/PHOTO CREDIT: Arthur Sidey/Mirrorpix via Getty Images

The Novembers and Decembers of the Music Icon: 1978-1986

__________

UNSURE if I had…

IN THIS PHOTO: Kate Bush in 1979

covered this before, I wanted to spotlight the Novembers and Decembers of Kate Bush during some of the busiest years of her career. Going from 1978 through to 1986, Kate Bush was not necessarily given a lot of time to rest at the end of the year. As we are in December, many of us are winding down and thinking about Christmas. However, for an international star like Kate Bush, the final two months of the year still saw her very engaged and busy. Maybe not entirely her own decision, I do feel a lot of sympathy for her. However, there were some interesting events that happened during these months. Thanks to Gaffaweb for their chronology information:

“November, 1978

Julie Covington, who has known Kate and her family for many years, releases an album including her own cover version of The Kick Inside.

Kate promotes Lionheart in the Netherlands, German and France [although I have no record of any television appearances dating from the trip].

November 7, 1978

Hammer Horror enters the British singles chart at the unexpectedly low place of number 73. [Contrary to usual record-company theory, saturation of the market place with new, rushed product nearly immediately after the success of a debut album is more often than not a poor business move, and usually does as much damage as good to the artist's budding popularity. The commercially mediocre sales of Lionheart should not have surprised anyone.]

Lionheart has its international launch at the 14th-century Ammersoyen Castel, two hours' drive from Amsterdam. 120 guests, from EMI Europe, Canada and the UK, and including disk jockeys Tony Myatt and Kenny Everett, as well as Dr. and Mrs. Bush, attend the reception. After dinner, in the grounds of the castle, Leo Bouderwijas, the President of the Association of Dutch Phonographical Industries, presents Kate with the prestigious Edison Award for the best single of 1978. Kate is also presented with a platinum disc for sales of the album in Holland.

November 8, 1978

Kate flies back to the U.K. for a private buffet at The Venue for the presentation of the Melody Maker 1978 Poll Awards. In the first year of her public career Kate has been voted Best Female Vocalist and Brightest Hope of 1978.

November 10, 1978

The international release of Lionheart.

November 17, 1978

Kate performs Don't Push Your Foot on the Heartbrake on The Leo Sayer Show, on BBC TV. She is off on a personal appearance tour of British record shops.

The first professional year for Kate Bush was very busy. We can see, even before reaching December, is that she was not given too much chance to unwind in November 1978. Barely a moment since she wrapped up promotion for The Kick Inside, she had released and was releasing Lionheart. Not much time to breathe and reflect after putting out this incredible and hugely popular debut album.

November 21, 1978

Hammer Horror reaches its chart peak, number 44. Lionheart enters the album chart at number 36.

December, 1978

Kate is off to promote in the U.S.A. for the release there of The Man With the Child in His Eyes.

December 9, 1978

Most importantly, she performs two songs on the U.S. NBC-TV programme, Saturday Night Live. [This is the only live entertainment programme on U.S. television, and is the most influential programme for the pop music market, as well the most important American showcase for "alternative" music. Kate performs The Man With the Child in His Eyes, seated on a piano, to the accompaniment of veteran rock keyboardist Paul Shaffer; and Them Heavy People, in a raincoat and Fedora hat. Nothing remotely like it has ever been seen on American television before.]

She is invited by Eric Idle, who is host of that edition; and she is visited by Mick Jagger. Paul Simon drops in to watch her performance.

Kate does press and radio promotion and moves on to Canada for more of the same. She is known to have made no other North American television appearances during this trip, however.

Back in England the Kate Bush Club, the official fan club, is formed.

November 18, 1979

Kate participates in the concert to celebrate the 75th anniversary of the London Symphony Orchestra, with Cliff Richard. Kate gives the first (and to date the only) public performance of Blow Away, the song she dedicated to Bill Duffield.

"Miss Bush was in breathtaking form...She emerged as the only star." (Simon Kinnersly, Daily Mail.)

November 28, 1979

Kate attends the Melody Maker Annual Poll Awards dinner at the Waldorf Hotel. For the second year running she is presented with the Best Female Singer award.

During November Kate records a track called December Will Be Magic Again, which she wants to release as a Christmas single. [For undisclosed reasons the release is postponed.]

November 30, 1979

A new recording of Lesley Duncan's Sing, Children, Sing is released, with Kate, Pete Townsend, Joe Brown and Vicki Brown on backing vocals. (Kate's voice is indistinguishable.) All profits from the single are to go to the U.N. Year of the Child fund.

December 21, 1979

The Winter Snowtime Special is aired on BBC TV. This is the second of two films for which Kate had contributed performances on February 18, 1979. However, the original film of Kate singing Wuthering Heights while walking barefoot in the snow is not included. Instead, a hastily filmed video for December Will Be Magic Again is aired on the programme.

It is interesting how she wound down 1978 and 1979. In 1978,t here was that U.S. promotion and her only appearance on Saturday Night Live. Kate Bush records her only Christmas single in 1979 and that would come out in 1980. I did not know that Bush recorded this version of Wuthering Heights with her walking in the snow. It would have been amazing to see that! I love how Bush performed Blow Away (For Bill) in November 1979. One of the best tracks from 1980’s Never for Ever, it was perhaps a good chance to break away from promotion and the interview treadmill and do something more interesting. It is a shame that this gem of a song was not performed live more. However, we can also see how, in 1979, she was still busy at the end of the year. In the run-up to Christmas, Bush was not really spared that much. That need to keep her in the public eye and ensure that she was very visible.

December 28, 1979

Kate, a forty-five-minute television special, is screened on BBC TV, featuring songs old and new. Some of these were filmed during live television-studio performances, others were videos prepared in advance and featuring studio recordings in more or less the same form as their album counterparts. Among the songs performed are Violin, Egypt, and Ran Tan Waltz (which would emerge as the b-side of Babooshka in 1980). In addition, one or two small pieces of incidental music are recorded specifically for the programme, which includes a guest appearance by Peter Gabriel, and a duet by Gabriel and Kate of Roy Harper's song, Another Day.

November, 1980

Kate writes an article for the magazine Woman's World, entitled How Can You Eat Dead Animals?

Meanwhile she returns to the studio to record the single version of December Will Be Magic Again.

November 17, 1980

December Will Be Magic Again is released. No promotional video is made for this single.

Kate is working with Peter Gabriel. They record a new version of Roy Harper's song Another Day, for a projected single. They also attempt to co-write a song for the b-side, and a song called Ibiza results. (Note: PFM spells this "Ibizza", but this is probably an error. "Ibiza" is the spelling for the Spanish coastal resort island.) They are not satisfied with it, however, and the project is shelved.

November 25, 1980

Kate appears on the BBC TV chat programme The Russell Harty Show for an edition dedicated to the composer Frederick Delius. She is interviewed with the cellist Julian Lloyd Webber and Delius's assistant and collaborator Eric Fenby. Following a screening of part of Kate's Dr. Hook video of Delius, Fenby suggests that the composer would have seen it as "a very gracious tribute."

December, 1980

Babooshka, which, outside the UK, has been the lead single from Never For Ever, is an international hit, reaching "top ten" status in most countries in Europe, as well as Australia and Canada. Kate's music has still made little impact in the United States, however. Her second and third albums have not even been released there, although a small but fiercely devoted cult following cause a vigorous trade in imports.

Meanwhile Kate tapes an extensive interview at her home for a Canadian television production company which is preparing a series of programmes entitled Profiles in Rock, with interviewer Doug Pringle, to be aired on CITY-TV, Toronto.

I did not know the record schedule for December Will Be Magic Again. I always assumed that the 1979 version recorded was the single version. I know there is more than one version, though I was unfamiliar with the fact she returned to record December Will Be Magic Again in November 1980. That Profiles in Rock interview is one of the standouts. I have watched that conversation several times. Bush so relaxed throughout. It is an extraordinary interview and one where we learn new things. One of the few from that time period where she is not patronised or subjected to sexism or endless questions about her personal life.

katebushnews.com · BBC Radio 1 Paul Gambaccini Kate's Favourite Folk & Classical 30th December 1980

December 30, 1980

The first of two special forty-five minute programmes is broadcast on BBC Radio 1, in which Kate plays and discusses with DJ Paul Gambaccini some of her favourite music by other artists. This programme is devoted to traditional and classical favourites.

December 31, 1980

The second forty-five minute programme is aired over BBC Radio 1, this one including some of Kate's favourite tracks by "popular" artists.

November 12, 1981

Kate attends a party at Abbey Road Studios to celebrate the studios' 50 years of operation. She cuts the celebration cake with Helen Shapiro.

November 21, 1981

Kate appears on the commercial TV programme Friday Night Saturday Morning, a new chat show, at the invitation of the host, zoologist Dr. Desmond Morris, to talk about her music and expressive dance.

December 22, 1981

Kate takes a break from recording to tighten melodies and lyrics.

November 1982

Kate is in Germany promoting album and single. [She gives a lip-synch performance of Suspended in Gaffa, known as the "puppets" or "marionettes" version.]

November 2, 1982

There Goes a Tenner is released in the U.K., and Suspended in Gaffa is released in all other territories. There Goes a Tenner is the "lost single". It is not promoted and gains no airplay on radio. It is the only single of Kate's not to enter the official chart. Suspended in Gaffa is, however, a great success, going top ten in most European countries and in Canada [? Top ten?] and Australia.

It seems that December 1982 was quieter than previous years. Though it was a quieter month for her compared to November, she did have commitments right at the end of the year. However, for The Dreaming, it does seem there was a bit of a break in December 1982. It was a commercial success but not as big-selling as The Kick Inside. However, there were singles released from it and Bush was very busy. Suspended in Gaffa is one of those Kate Bush songs that I think should have been released as a single in the U.K., as it would have charted quite high. It is one of best songs from The Dreaming. One of the best from her entire discography, in fact.

November 13, 1982

EMI-America releases The Dreaming album, which enters the Billboard Top 200, the first of Kate's albums to do so. The album begins to get a crop of very good U.S. reviews praising its creativity. The album is pushed by spots on U.S. college radio, and towards the end of the year airplay begins to pick up. Kate begins to expand her small cult following in the U.S. to attract a wider audience.

November 21, 1983

Night of the Swallow is released as a single in Eire.

December 1983

The Single File video compilation is released. Kate makes personal appearances in Kingston and Holborn.

November 17, 1985

Kate flies on the Concorde to New York (via Washington, D.C.) to promote the album and single. She makes a personal appearance at the Tower Record Store in Greenwich Village for which the queue extends for hundreds of yards around the block. She appears on the local New York news programme Live at Five, and tapes an interview for later airing on the cable programmes Night Flight, Heartlight City and Radio 1990. She also visits the MTV studios to tape a brace of short interviews. She is also interviewed by Love-Hound Doug Alan.

A track from the new album, Hello Earth, is featured as background music for a scene in the then-top-rated U.S. TV series Miami Vice.

From New York, Kate travels to Toronto where she tapes at least five more interviews (all from the same studios). These will appear on various Canadian programmes, including the national evening news, Much Music, The New Music, Good Rockin' Tonite, and various local news reports.

IN THIS PHOTO: Kate Bush at Tower Records, New York in 1985 promoting Hounds of Love

November 30, 1985

Running Up That Hill peaks at number 30 in the U.S. Billboard chart.

Meanwhile Kate goes straight from Canada to Holland (taping an interview for Count Down), France, and Germany (where she gives a lip-synch performance of Running Up That Hill on the programme Extratour), and still manages to return to England in time to attend the first Convention organised jointly by the Kate Bush Club and Homeground. This is held at the Dolphin Centre in Romford. Approximately 400 fans attend. At the convention Kate is presented with a Platinum Record for the U.K. sales of Hounds of Love. [All of Kate's family and Del Palmer are present, as well.]

December 14, 1985

Hounds of Love reaches its peak position of number 30 the U.S. Billboard album chart.

December 23, 1985

In the annual Record Mirror poll Hounds of Love is voted Best Album, and Running Up That Hill is voted Best Single.

November 1986

Kate directs the video for Experiment IV, which is made on location at a disused military hospital in South East London and a street in the East End. The film features the Comic Strip regulars Dawn French and Hugh Laurie.

November 9, 1986

Kate interrupts the shooting of the Experiment IV video to attend a party at the Video Cafe organised by the Kate Bush Club and Homeground.

November 10, 1986

The Whole Story, the first Kate Bush compilation album, is released. It is promoted by the most expensive TV advertising campaign EMI has ever mounted. Sales are massive”.

What we do get a sense of is how her year panned out. Even though November and December saw little in the way of promotion, there was still a lot in terms of activity. Things are different now. However, through 1978 to 1986 (and beyond), Bush was not given a lot of time to take her foot off of the gas. However, there were some really interesting events and happenings at the end of the years. The end of 1985 was especially interesting. Bush seeing Running Up That Hill (A Deal with God) doing well in the U.S. and her doing well with Record Mirror and their readers. Possibly the peak of her powers. I did not mark the thirty-ninth anniversary of The Whole Story, but that was an important release. Her only greatest hits album. Given the success she had experienced the previous year, she was more malleable to the idea of a greatest hits album. It went to number one. I love how there was this party on 9th November that Bush went to in the middle of shooting a video! I would loved to have been there. The end of 1986 provided her chance to relax and reflect. We think about Bush and her albums and singles. This year, Bush has focused on her Little Shrew (Snowflake) track. The animated video (which Bush directed) appeared in cinemas with World War II German resistance feature film, From Hilde, With Love. Bush gave an interview to Animation Magazine and she posted updates to her website. There was the fortieth anniversary of Hounds of Love in September. Twenty years of Aerial in November. It has been an interesting year. We are not sure what next year holds, but we will soon get a Christmas message from Kate Bush, where she will reflect on the year. Even though we might not see a new album, I am sure there will be surprises and great stuff. The always-mysterious Kate Bush definitely will…

KEEP us on our toes.

FEATURE: Golden Year: David Bowie’s Station to Station at Fifty

FEATURE:

Golden Year

David Bowie’s Station to Station at Fifty

__________

I was going to use this feature…

IN THIS PHOTO: David Bowie in 1976/PHOTO CREDIT: Andrew Kent

to discuss David Bowie and the fact that it has been ten years since he died. On 10th January, we will talk about David Bowie. It was a huge shock in 2016 when we heard the news. I know that people have written about that anniversary and will write about it. Instead of writing about that, later this month, one of his classic albums turns fifty. That is Station to Station. Released on 23rd January, 1976, it was David Bowie’s tenth studio album. In terms of dynamic and stylistic shifts, perhaps this was one of the biggest. 1975’s Young Americans was influenced by American R&B and Soul. Bowie's performance persona the Thin White Duke, Bowie kept the Funk and R& of his previous album but drew in Electronic and Krautrock. In terms of Bowie’s mindset during the time, he was heavily into drugs and could not recall most of the production. Exceptional gaunt and thin, it is amazing that he managed to make such an extraordinary album! In terms of its format and length, Starting out with the extraordinary title track, it then moves into Golden Years. Ending with Wild Is the Wind - lyrics by Ned Washington and music by Dimitri Tiomkin -, there are fewer tracks than previous albums but they are more expansive and some would say experimental. Before getting to some features and retrospectives about Station to Station, MOJO revisited David Bowie’s masterpiece. It is amazing thinking about cohesive and nuanced Station to Station is considering how David Bowie was living at the time:

“In August 1975, after the filming of The Man Who Fell To Earth had finished, Bowie rented a house at 1349 Stone Canyon Road in Bel Air, a secluded 1950s-built property with a mock Egyptian interior. From here, he pulled together a team to record his next album: Harry Maslin, who’d worked on the Fame session in New York, was recruited as producer, while guitarists Carlos Alomar and Earl Slick, plus Fame drummer Dennis Davis, and bassist George Murray, provided the core of the group. After two weeks’ rehearsals, the group checked into Cherokee studios in Hollywood. One of the first songs to emerge was Golden Years, a sinuous soul groove that took up where Young Americans had left off. It was premiered on November 4 on ABC TV’s Soul Train, reflecting David’s new kudos within the US soul community.

By now, Bowie was surviving on a diet of milk and cocaine, with the odd vegetable thrown in, and regularly went without sleep. Though only six songs emerged from the sessions, they amounted to some of Bowie’s finest work. The title of the book of short stories he’d begun writing while shooting TMWFTE, titled The Return of The Thin White Duke, made its way into the opening line of Station To Station, an epic 11-minute piece that moved through a series of moods – sometimes dark, melancholy and mysterious, elsewhere funky and euphoric – with allusions to the Kabbalah, cocaine and, in its title, the Stations of the Cross, the popular representation of Christ journeying towards his crucifixion.

The beautiful Word On A Wing, meanwhile, explored a more conventional Christian, or perhaps Buddhist, theme; Stay was a trippy funk-out with soaring psychedelic soul guitar; and TVC15 fused New Orleans piano and futuristic soul, telling the tale of a woman devoured by a television set. The final track, a cover of Wild Is The Wind, the 1954 film theme memorably covered by Nina Simone in 1966, bookended the album in magnificently contemplative and dramatic style, completing a record exuding strangeness and imbued with layers of mystery. Perhaps it was all a lucky accident: David later admitted he had few recollections of recording the album, bar shouting his idea for a feedback part to Earl Slick. Regardless, in an almost peerless run of late 70s albums, Station To Station is still one of the most beguiling stopovers. Next stop, Berlin”.

In a fascinating essay from The Quietus, they looked back on Station to Station on its forty-fifth anniversary. The 2020 feature is a great read. I have selected some segments from it. I am sure that there will be quite a lot of fiftieth anniversary features about this extraordinary album:

“More than on any other Bowie album in a career built on exploring the theme from any number of angles, the idea of decadence is at the heart of Station to Station. If Young Americans, his previous album, had examined the post-Watergate rottenness infecting the once-great nation he’d recently adopted as his home, then on Station to Station he turns his gaze fully inward upon his own condition, and finds the creeping decay at work there too. It’s a pre-punk album, not just chronologically (recorded in ten days at the end of 1975), but in recognising the hollow, bloated state of the rock aristocracy of which Bowie was a part, especially in contrast to the social upheaval and economic recession going on in the real world, wherever that was. Punk was a response from the kids on the street, but Bowie was part of the problem, and he knew it, tall in his room overlooking the ocean, staring out through a blizzard of coke and knowing it was all coming crashing down.

Ah, yes: cocaine. The proverbial Peruvian is all over this record, but not in an over-produced, airbrushed Rumours way. Station to Station is shiny but spare, harsh; it captures the jagged edge, the exquisite balancing act between the high and the comedown, and the sense of feeling hugely emotional at the same time as feeling completely numb and detached that is a typical symptom of fast white drugs (speed, E, coke). Similarly the intellectual grandstanding, paranoia and occultism, barely masking an inner desperation; having made a career out of wearing masks, inventing personas, analysing his emotions from a distance and then acting them out, Bowie seems desperate for a way out of his situation. Early in his career, under the influence of Lindsay Kemp, he made a short film called The Mask, in which a mime artist puts on a mask that then takes him over. By 1975 for Bowie the parable had come true. Lauded, wealthy, trapped in the social whirl of an affluent and fashionable Los Angeles jet set, reputedly existing on a diet of cigarettes, orange juice and cocaine and immersing himself in mysticism, conspiracy theories, the occult and an increasing fascination with right-wing ideologies, Bowie was fast becoming the epitome of the Decadent Man. Yet Station to Station is far from the work of an artist in decline. Rather, it extends the Philly funk of Young Americans into weirder, colder territory, and marks the beginning of the period of radical musical reinvention and rigorous introspection that would continue through the Berlin period and the more celebrated Low and "Heroes" albums.

 

Like the Duc Des Esseintes- the original Thin White Duke? – in Huysman’s 1884 novel A Rebours, Bowie has become jaded beyond belief, too numb and sated to be moved by any but the most extreme sensations. So far gone, so alienated from his own feelings is he that what he craves more than anything else is an authentic experience. Eventually he would realise this by stripping away all artifice and moving to Berlin, but here he still attempts to contrive genuine emotion, to convince himself by dint of a bravado performance. As if acting on ‘Young Americans’ celebrated line, "ain’t there one damn song that can make me break down and cry?" Bowie constructs the most grandiose of love songs, the most overblown, epic ballads, mouthing hollow romantic clichés as if, by saying the lines with enough simulated passion, he will actually come to feel them. And yet, of course, all of this is just a construct, too- he knows exactly what he’s doing. It’s not a cynical act, because the desire to feel remains genuine- in its way, this is as stark and troubled a record as anything from Neil Young’s contemporaneous ditch trilogy, the musical polish and role-play only thinly veiling a soul on the edge, battling with addiction and paranoia and with what he, at least, genuinely believed were dark mystical forces just waiting to drag him forever into the abyss. "It’s the nearest album to a magical treatise that I’ve written," Bowie has said, though perhaps a ritual spell of protection would be a more accurate description.

The album opens with the sound of a train. An old-fashioned steam train, chuffing from speaker to speaker and which always makes me think of Mr Norris Changes Trains by Christopher Isherwood- leaping ahead to Berlin, again – and then suddenly it isn’t a train anymore, but something far more warped and alien, and here come those flat, clip-clop piano notes, the spidery beat and Earl Slick’s strafing guitar feedback out of which a dragging, leaden riff slouches, some rough beast waiting to be born… But Bowie’s vocal is anything but rough: silken, demanding, ridiculously theatrical yet eerily convincing. ‘Station to Station’ isn’t about trains, despite being written while the notoriously aerophobic Bowie was touring America and Europe by rail; instead, it refers to the fourteen Stations of the Cross, which Bowie also equates to the eleven Sephirot of the Tree of Life in the Jewish Kabbalah- hence, "one magical movement from Keter to Malkuth," the songs most enigmatic lyric, which refers to the descent from the Crown of Creation to the Physical Kingdom, or from one end of the tree to the other.

This first section ends with a cryptic reference to Aleister Crowley’s early, poetic fusion of pornography and occultism, White Stains. A classic of decadent literature, Crowley himself later justified this short work as follows: "I invented a poet who went wrong, who began with normal innocent enthusiasms and gradually developed various vices. He ends by being stricken with disease and madness, culminating in murder. In his poems he describes his downfall, always explaining the psychology of each act." It’s not hard to imagine Bowie identifying with such a project, but before we have time to digest this, the whole song suddenly switches gear: not once, but twice, into hard, urgent funk with a proggy chord sequence, and then again, finally hitting that glorious plateau of a chorus and somehow staying there, like a never-subsiding orgasm, held impossibly aloft by Roy Bittan’s driving piano, just so long as you don’t look down- "It’s too late!" –Slick kicks in with a wired, fiery solo, and then, "it’s not the side effects of the cocaine- I’m thinking that it must be love," and we’re still up there, somehow- it’s a sustained, smooth-jagged coke high of a song, just keeping going, always up and on the one until it finally, inevitably fades out…

‘Golden Years’ is one of Bowie’s finest middle-of-the-road moments, a mainstream soul-funk ballad with mass appeal but a seriously weird core. It comes on like a love song, but what is it actually about? "Nothing’s going to touch you in these Golden Years (run for the shadows in these golden years)." It’s opaque, impenetrable, all mirrored surfaces and shifting moods. Again, the incessant, almost proto-rap delivery, listing things to do, balancing aggressive positivity ("Don’t let me hear you say life’s taking you nowhere") with brittle paranoia ("run for the shadows…") is pure coke babble, riding on the bright mellow glide of the groove and the dark empty spaces beneath… nothing’s gonna touch ya, move through the city, stay on top, all night long…”.

I am going to get to some features, where David Bowie’s studio albums are ranked. First, there are a couple of retrospectives I want to cover off. Moving to Albumism and their take on Station to Station, forty-five years after the album was released. It is my favourite David Bowie album. I have a lot of love for it. For anyone who has never heard Station to Station, do take some time to investigate it, as it is one of Bowie’s most compelling works:

“Bowie managed to fit in almost every aspect of the human condition with the first three songs on Station to Station. Side two opens with "TVC 15" featuring a Professor Longhair-styled piano riff by Roy Bittan, which plays throughout the song. For the last 45 years, I had no idea what the hell this song was about. Through an internet deep dive and a couple of Kindle purchases, I finally discovered the origins of "TVC 15." An occurrence inspired the song at Bowie's home where a hallucinating Iggy Pop believed that a TV set swallowed his girlfriend. Bowie took this incident and created "TVC 15,” where the protagonist's girlfriend crawls into a TV, and he decides to go in after her. This strange but delightful tune is a great open to side two and one of the more underappreciated songs in Bowie's catalog.

"Stay" is arguably the funkiest tune on Station to Station and could also have been on the Young Americans album. Earl Slick's guitar work is the co-star of this song, along with Bowie's vocals. "Stay" remained a staple of Bowie's live performances throughout his career.

Rounding out Station to Station is "Wild is the Wind," a hauntingly beautiful song initially recorded by Johnny Mathis in 1958 for a movie of the same title, but later flawlessly covered by Nina Simone in 1966. Bowie struck up a friendship with Simone after meeting her at a private club called Hippopotamus in 1974. As she was leaving, he called her over to his table, and they chatted and exchanged numbers. For about a month afterward, they spoke on the phone daily and talked about what it meant to be an artist who was different from everyone else. He gave her the encouragement she needed at the time, and she saw him for who he was. In her biography What Happened, Miss Simone, she is quoted as saying, "He's got more sense than anybody I've ever known," she said. "It's not human—David ain't from here." This friendship led Bowie to record "Wild is the Wind" as an homage to his friend. It is one of the most moving songs in his discography and a great end to Station to Station. Check out the incredible version he performed at the Yahoo Internet Awards in 2000.

Considering all of the personal turmoil Bowie was enduring when he recorded Station to Station, it's miraculous that this six-track album remains one of the most important and influential albums recorded in the last 50 years”.

Following David Bowie’s death in 2016, Medium argued why Station to Station matters. If some feel that it is not David Bowie’s very best album and contains few songs, it is definitely one of his most important albums. A lot of people focus on David Bowie’s physical and emotion state. How he was an addict and was exhausted, yet still managed to turn in this wonderful and rich album:

“Generally speaking, Bowie had not pumped both exuberance and noirish angst into a given song before 1975. But on Station to Station, every track contains both sides of the dichotomy. The epic songs on Springsteen’s Born to Run, released mere weeks before work on Station to Station began, also encapsulated this paradox, which is possibly why Bowie poached Springsteen’s pianiste extraordinaire, Roy Bittan.

The Thin White Duke, Bowie’s new persona for Station to Station, is no Ziggy Stardust: he’s naked and comparatively defenceless. The apocalypse is not coming from without, but from within. Ziggy was Bowie — prelapsarian in reality — pretending to personify rockstar royalty in decline/sublimation, achieving rockstar royalty ‘in real life’ in the process. The Duke is Bowie — having becoming rockstar royalty — in precipitous physical and mental decline, and not hiding it very well. “Does my face show some kind of woe,” he says, not phrasing it like a question. Cracked actor indeed.

***

(Mis)communication and confusion pervade the album; even when clarity and confidence burst through, doubt is waiting in the wings. Everyone praises Bowie’s vocal on album closer ‘Wild is the Wind’, but ‘Word on a Wing’, which builds on his references to angels in ‘Golden Years’ (and to the Stations of the Cross alluded to in the title track), really is a vocal powerhouse. Ending Side 1 of the LP, it sums up the Manichean dichotomies at the album’s centre — darkness/light, rational/religious, doubt/belief — in an act of desperate faith. “A protection,” he would say of the song in later years. “Something I needed to produce from within myself to safeguard myself against some of the situations that I felt were happening.” An inelegant explanation of one of Bowie’s most elegant compositions, the statement nonetheless contextualises Bowie’s six-minute plea to be rid of the “grand illusion” (or “grand delusion”, but the effect of a fickle, faithless world is the same) that surrounds him.

Even when clarity and confidence burst through, doubt is waiting in the wings

“Does my prayer fit in with your scheme of things?” he asks God politely, seeming to eschew his own erstwhile flirtation with the Nietzschean superman idea only to claim loudly, in the song’s bridge, to be “ready to shake the scheme of things”. So — is he praying? Or is he asserting his own “scheme”? Does he even know? The song seems to end in prayer, borne out by the choral organ and the angelic backing vocals.

But Side 2 kicks off with the decidedly secular ‘TVC 15’, most of whose lyrics are indecipherable without a lyric sheet, which doesn’t matter too much when the music’s this enjoyable. It resumes the album’s key theme of communication. The music and lyrics of Station to Station probe the very concept and (f)utility of communication; c.f. Young Americans, which was simply a committed attempt at communicating volumes — about black music, about white music, about the exultations and limitations of each as well as the irrelevance of said limitations when you’re having fun — through generally impenetrable lyrics.

Ultimately, the album presents the problem of progression and momentum (hinted at by the album title, the breathless typography on the album cover, the chugging pistons on the title track that “drive like a demon”, the vast majority of the music itself) counterposed against the stasis, confusion and miscommunication explored in the lyrics. In other words, it presents the problem of life itself. ‘Stay’, the Earl Slick / Carlos Alomar showcase, again exemplifies Bowie’s frustrations with communication. “I really meant it so badly this time,” he pleads. “You can never really tell when somebody wants something you want too.”

***

Bowie appears to have achieved some sort of temporary peace in the final track, seeking refuge in another’s work, which makes sense — his own five songs have been too dense, intense and difficult to afford Bowie (and us) a breather. The song may feel at first like a misfit, but it coheres with the album: the opening lyric (“Love me love me love me love me, say you do”) suggests that the communication is as important as, if not more important than, the sentiment itself.

We are feeling, rather than just understanding, Bowie’s loneliness

The wildness of the wind (Bowie’s romance with his addressee) is something he’s wishing for, not something he has. Throughout the album, he’s seemed so alone, so uncomfortable in his own skin, that by ‘Wild is the Wind’ not only does it sound like he has no lover, it sounds like he’s never had one. The album’s tone begins to make sense, and for the first time we feel, rather than simply understanding, his loneliness. The backing vocals are no longer there. “It’s not the side effects of the cocaine | I’m thinking that it must be love”, he sang on the title track, and although the non sequitur about the “European cannon” seemed to make a nonsense of this line at the time, his audible terror that “it must be love” now slides into focus: Bowie is too far gone to be anything other than panicked at the prospect of real intimacy. Which might be why he’s hiding in someone else’s song.

“Don’t you know you’re life itself? | Like the leaf clings to the tree | Oh my darling, cling to me | For we’re like creatures of the wind | For wild is the wind”. Why do I find his delivery of this soppy line so poignant? Maybe because the whirlwind of his imagined love is a world away from the whirlwind of confusion and cocaine that’s been swirling ‘round his desolate isolation for the last 35 minutes.

“The man who knows not how to smile”

Why does any of this matter?

Partly because Bowie expressed profound loneliness without having to spell it out, which makes the album one of the most subtle, captivating pictures of loneliness (and therefore of humanity) we have.

Partly because few other albums, if any, have tackled the theme of communication (with oneself, with another, with God) so concisely, so catchily and so cathartically.

Partly because it’s worth trying to unpack why certain albums are so listenable.

Partly because the album is one of Bowie’s unmitigated successes, which makes it notable for obvious reasons.

Partly because the album doesn’t get enough press, coming between two more prominent records.

Partly because despite (or perhaps thanks to) the obfuscations, the obscure lyrics, the confusion and the chaos, the album offers a piercingly clear portrait of David Bowie circa 1976, and such a jolt of poignant clarity is how many of us are trying to plug the gap in the wake of his death.

Partly because it’s fun”.

In 2013, Rolling Stone asked its readers to choose the best David Bowie album. Rolling Stone ranked Station to Station third: “It's possible to do so much cocaine over a long period of time that you enter into a state of "cocaine psychosis," meaning you suffer from intense paranoia and memory failure. That explains why David Bowie claims to have no memory of recording Station to Station. He was doing shocking amounts of the drug, and not sleeping for days at a time. This disc was recorded largely long after midnight in a Los Angeles studio. E Street Band keyboardist Roy Bittan was sober, but most everyone else in the studio was high as a spaceship. This usually leads to horrible music, but by some miracle it produced some of the greatest songs of Bowie's career. On the epic title track Bowie even sings about the "side effects of the cocaine." It's 10 minutes and 15 seconds of absolute madness. You can almost smell the drugs when you listen to it. The disc wraps with a cover of "Wild Is the Wind," featuring some of the greatest singing of Bowie's career. This is a deeply weird album that just gets better with age”. Back in September, GQ placed it in sixth: “One of the most indelible lines in Bowie’s biography is that he had a period consuming only red and green peppers, milk and cocaine (which also coincided with a couple of pro-fascist statements). This is the album that came out of that period – and for all the havoc the drugs wreaked on his mind, his music held up. Station to Station has a bit of everything, particularly the “plastic soul” of Young Americans, with intimations of his forthcoming experimental period too. “Word on a Wing” is a shining but structurally tricksy ballad; the 10-minute title track, his longest song, is a style-shifting odyssey with a catchiness that belies the sinister, rather mystical lyrics”.

Last year, Rough Trade placed it in sixth too: “Saving your piss in the fridge so the witches don't steal it? No? Then clearly you've not huffed as much coke as 1976 Bowie while he trail-blazed through an album that simply put, he couldn't remember making. Icy funk, complex art rock and if we're being real here - his best vocal take (Wild Is The Wind) are all present and correct. Earl Slick absolutely wails throughout, his guitar textures unteachable and unreachable”. This is what Classic Rock observed last year when highlighting which David Bowie albums you should listen to: “Bowie’s herculean mid-’70s drug intake meant he claimed not to remember making Station To Station. For anyone less addled, this 1976 benchmark ranks amongst his most memorable albums. Comprising six lengthy tracks whose raw emotions hold up a mirror to Bowie’s mindset (at this point, he was trading as the problematic Thin White Duke), Station was a marked fork left from the rug-cutting soul of Young Americans, and implied the electronic leanings that the Berlin trilogy would soon explore. For instant gratification, it has to be Golden Years, but the album demands headphones and full focus”. We remember David Bowie on 10th January, ten years after he died. Instead of reflecting on that, I wanted to look ahead to 23rd January and the fiftieth anniversary of Station to Station. It is a stunning and timeless classic from…

A much missed genius.

FEATURE: Kate Bush’s Wuthering Heights at Forty-Eight: The Live Performances and Legacy

FEATURE:

 

 

Kate Bush’s Wuthering Heights at Forty-Eight

IN THIS PHOTO: Kate Bush in 1978/PHOTO CREDIT: Gered Mankowitz

The Live Performances and Legacy

__________

I am already looking ahead…

 IN THIS PHOTO: Kate Bush preforms Wuthering Heights on RTÉ’s The Late Late Show in Ireland on 25th March, 1978/PHOTO CREDIT: Eve Holmes

to its forty-eighth anniversary, and that is not until 2018! However, I will hold back for now and, instead, mark forty-eight years of Kate Bush’s Wuthering Heights. Her debut single was released on 20th January, 1978. It was initially due to be released late in 1977 but, for a number of possible reasons, it was held back. By this time, the song had been heard and played on the radio. EMI were perhaps keen for it to be kept under wraps until its official release, but it had been heard and played prior to its release, so there was this anticipation when it was officially out as a single. Despite the fact it started life outside of the top forty in the U.K., Wuthering Heights did get to number one. Kate Bush became the first female artist to have a self-penned number one song. That sounds amazing to consider but, in the forty-eight years since, there have not been a huge amount of women who have topped the singles charts here with a self-written song. One where they are the only writer. As I noted in a previous anniversary feature, there is contention as to what inspired her to write the song. I had always assumed Bush watched the final ten/fifteen minutes of a 1967 BBC adaptation of the Emily Brontë novel. That she raced to her room and started to pen the song, rather than there being a gap. She did eventually read the novel to get context and more depth before the single came out. However, it was that moment of a T.V. adaptation that stayed in her mind and then she wrote it over the course of a few hours on the night of 7th March, 1977. A late contender for inclusion on The Kick Inside, it was not viewed by EMI as a natural single.

Kate Bush argued that it should be her debut, and the tensions got hot and charged. Though Bush was not crying, she was definitely emotional and resolute. She won the battle and was proven right. Had the more conventional James and the Cold Gun had been her first single, it would not have reached number one. The Kick Inside might not have sold as hugely. I shall come to discuss the legacy of Wuthering Heights. I will get to the live performances. Not the very first times Kate Bush had performed live, it was her first time on T.V. Prior to that, with the KT Bush Band, she played at clubs and pubs around London and the south east of England. Building up this name and reputation, that experience did give Kate Bush some foundation and understanding of what it would be like on this promotional trail. However, Bush could not have anticipated just what it would entail promoting Wuthering Heights. Nineteen when the song was released, she was thrown straight into this whirlwind! There is a lot to explore when it comes to Wuthering Heights, and I will discuss it again when marking twenty years of The Kick Inside ahead of its anniversary on 17th February. However, the live performances fascinate me. With Kite as its B-side, Wuthering Heights was this amazing single that proved Kate Bush was so different to her peers. Prior to getting to those live performance, the Kate Bush Encyclopedia brought together interviews where Kate Bush discusses the single. For her fan club newsletter in January, 1979, Bush discussed the origins of writing this iconic and incredible debut single:

“I wrote in my flat, sitting at the upright piano one night in March at about midnight. There was a full moon and the curtains were open, and every time I looked up for ideas, I looked at the moon.

Actually, it came quite easily. I couldn’t seem to get out of the chorus – it had a really circular feel to it, which is why it repeats. I had originally written something more complicated, but I couldn’t link it up, so I kept the first bit and repeated it. I was really pleased, because it was the first song I had written for a while, as I’d been busy rehearsing with the KT Band.

I felt a particular want to write it, and had wanted to write it for quite a while. I remember my brother John talking about the story, but I couldn’t relate to it enough. So I borrowed the book and read a few pages, picking out a few lines. So I actually wrote the song before I had read the book right through. The name Cathy helped, and made it easier to project my own feelings of want for someone so much that you hate them. I could understand how Cathy felt.

It’s funny, but I heard a radio programme about a woman who was writing a book in Old English, and she found she was using words she didn’t know, but when she looked them up she found they were correct. A similar thing happened with ‘Wuthering Heights’: I put lines in the song that I found in the book when I read it later.

I’ve never been to Wuthering Heights, the place, though I would like to, and someone sent me a photo of where it’s supposed to be”.

I am going to return to this source when exploring the legacy of Wuthering Heights. It is forty-eight on 20th January. Of course, as the single became more played and popular, Kate Bush was expected to perform it live. Perhaps not the song she has performed live the most, she did have to get used to performing this regularly. For 1979’s The Tour of Life, it was part of the encore. A song that so many people came to see, her T.V. performances were perhaps less comfortable and amazing. It is hard to make a song like Wuthering Heights came alive live. For The Tour of Life, she did have this space to create her own set and backdrop. More natural and personal, the T.V. apparencies were a mixed bag.

Prior to a mortifying first performance on Top of the Pops – where Kate Bush said it was like watching herself die -, there were a couple of T.V. appearances. The second time Wuthering Heights was performed was on Magpie, though it would have been between 9th and 16th February. 9th February, 1978 was the first time the single was performed. Oddly  It was for German T.V. and Bio’s Bahnhof This was an entertainment show hosted by Alfred Biolek, which was broadcast by ARD in Germany from 9th February, 1978 to 28th October, 1982. Being a German T.V. show, they did not know what Wuthering Heights was about and the connection to Yorkshire and the Moors. Instead, Bush was backed on stage by a volcano! A bizarre and ill-fitting visual for the song, it was a mimed performance. Top of the Pops would be when she got to perform it live. However, as solo artists could not perform with a band and they had to be accompanied by a BBC orchestra, Bush was completely dumbfounded. She hoped that she would be able to perform with her band for moral support. However, she had to go on stage and perform backed by a pre-recorded and awful orchestral backing. She did not really have the luxury of making it a one-off. I guess, to help the single climb the charts, she could not just send a video in place. A video was made especially for Top of the Pops, though she did perform the song on Top of the Pops a further couple of times. If the performance became more comfortable and less awful, that first appearance was quite galling. On 2nd and 23rd March, Bush played again on Top of the Pops. A red and white dress version of the video was shot. The red dress version is considered the most iconic. Though the video (the white dress version I think) was shown on Top of the Pops for a Christmas edition, due to Musicians Union rules, Bush had to perform the song live. Whilst it would have been amazing to hear and see the late Ian Bairnson’s iconic electric guitar on Top of the Pops, Bush did not have the luxury of bringing the song to life in the way she would have liked. Not until The Tour of Life when she got to right this wrong. For The Tour of Life, KT Bush bandmate and old friend Brian Bath was on electric guitar. A shame we did not get to see Bairnson play this on stage with Kate Bush.

The two final T.V. performances of Wuthering Heights were interesting: 19th May, 1978 on Szene (Germany), and 9th September, 1978 for Festivalbar (Italy). The countries where she played the songs live were receptive. The song charted well there. Germany, Wuthering Heights reached eleven. In Italy, it went to number one. Another nation where it hit the top spot and Bush played the song live there is Ireland. The nation her mother, Hannah, was born, Bush played for RTÉ ‘s The Late Late Show, hosted by Gay Byrne. Bush looked amazing and it was another case of her not being able to bring in a full band. The chat between Byrne and Bush was awkward. Somewhat patronising and sexist, Bush would deal with a lot of awkward, ill-informed and old-fashioned male hosts and interviewers who she was always professional around. 25th March, 1978 is when Bush was on the Irish chat show. That was a few days after the final Top of the Pops appearance. No volcano for when Bush appeared on Rendez-vous Du Dimanche in France on 7th May, 1978! It was a brown/blurry background. Perhaps not quite knowing what to do, it was another simple, mimed performance. On the same day as her appearance on The Late Late Show in Ireland, Bush performed Wuthering Heights on Toppop in the Netherlands. I have checked this and wonder how it was managed. I am sure both were live performances, but maybe she performed on Topop earlier in the day or it was broadcast on 25th March, 1978, and then she was in Ireland live for the Late Late Show. It is amazing, right from the off, how far she was sent. Artists today would not be sent across Europe and the U.K. to perform their debut single on T.V. It is a monumental ask. However, the song went to number three on the Dutch chart. France and Germany were among the lowest-charting countries, though fourteen in France and eleven in Germany is respectable! Australia, Italy and New Zealand also made Wuthering Heights a number one. Bush would promote in New Zealand and Australia in 1978.

I think that the most fascinating pre-The Tour of Life performance of Wuthering Heights was a De Efteling TV Special. Thanks to the Kate Bush Encyclopedia again for details about the special. Wuthering Heights was one of several songs from The Kick Inside that Kate Bush performed. Though mimed again, there was more in the way of set design and concept. Though quite strange and gothic. Though, thinking about it, totally appropriate for Wuthering Heights at least! That amusement park performance is the most charming and remake of the T.V. spots:

“On 12 May 1978 at 7.12pm, the Dutch broadcaster TROS broadcast a 20 minute Kate Bush television special, recorded at the Dutch amusement park Efteling. On 10 May 1978, Efteling was ready to open the Haunted Castle, the most expensive attraction it had ever constructed, and they wanted to promote it as much as they could. Ton van der Ven, who designed the castle, appeared in a popular talk show and in April a documentary featuring the Haunted Castle was made by filmmaker Rien van Wijk, who was eager to shoot in the latest attraction before it officially opened. Kate, who just had a big hit with Wuthering Heights, was approached for a television special that would promote both Efteling and her songs. The special was filmed in April, a month before the official opening of the castle.

The special consists of six songs, each filmed in different locations:

Moving was filmed on the square in front of the castle.

Wuthering Heights has Kate dancing around inside the main show of the castle. A smoke machine is used for added effect.

Them heavy people was filmed on three locations: inside the main show in the attic; at the entrance of the main show with the oriental ghost; and outside before the entrance of the cave which is part of another attraction, the Indian Waterlillies.

The Man With The Child In His Eyes was recorded at the side of the lake with the gondolettas

Strange Phenomena has Kate walking around in the dark passages of the castle

The Kick Inside was filmed on the lake, with Kate lying in a death-barge. At the end of the song, she sails slowly down a placid river, evoking images of Elaine and The Lady of Shalott, classic poetical figures of Arthurian legend”.

Eleven T.V. performances between 9th February and 9th September. Between these dates, Bush was performing other songs in other countries. Moving was released as a single in Japan. Wuthering Heights was the B-side. However, Bush did undertake promotion in Japan in June 1978. Considering all the countries she visited and the fact that she had to make these distinct songs translate must have been head-spinning and odd! However, one cannot overlook the instant impact and popularity of Wuthering Heights. Returning to that first link from the Kate Bush Encyclopedia, and Kate Bush talked about the reaction to Wuthering Heights in its first year or so:

One thing that really pleases me is the amount of positive feedback I’ve had from the song, though I’ve heard that the Bronte Society think it’s a disgrace. A lot of people have read the book because of the song and liked it, which I think is the best thing about it for me. I didn’t know the book would be on the GCE syllabus in the year I had the hit, but lots of people have written to say how the song helped them. I’m really happy about that.

There are a couple of synchronicities involved with the song. When Emily Bronte wrote the book she was in the terminal stages of consumption, and I had a bad cold when I wrote the song. Also, when I was in Canada I found out that Lindsay Kemp, my dance teacher, was in town, only ten minutes away by car, so I went to see him. When I came back I had this urge to switch on the TV – it was about one in the morning – because I knew the film of Wuthering Heights would be on. I tuned in to a thirties gangster film, then flicked through the channels, playing channel roulette, until I found it. I came in at the moment Cathy was dying, so that’s all I saw of the film. It was an amazing coincidence”.

ILLUSTRATION CREDIT: Steve Smith

On 30th July, 2018 – Kate Bush’s sixtieth birthday – The Telegraph wrote how Kate Bush reinvented Pop with her debut song. A piece of music that has changed the life of so many people, the fact it has been covered so many times means that it connects with other artists. CMAT recently performed the song. Though the original has a distinct vocal performance, other artists have provided their takes:

“In 1978, Bush cited Patti Smith, Johnny Rotten and The Stranglers as major influences. Good music, she said, “is like an interrogation, it really puts you up against the wall, and that’s what I want to do. I’d like my music to intrude. I think that anything you do that you believe in, you should club people over the head with it. Not many females succeed with that. Patti Smith does.”

Orton says that by being fearless and “not answering to anyone”, Bush embodied the attitude, if not the sound, of punk. In this sense, the softness of Wuthering Heights was a red herring.

“Everyone said ‘Ooh isn’t she ‘crazy’’, but no, she was really profoundly strong. Anyone who can hold that energy has to be incredibly focused. She’s got a punk spirit. It takes incredible strength to hold your own, especially at that time, as a woman who looks like her, writes like her and sounds like her,” Orton says.

Paranoid about being labelled, Bush strove to keep changing after Wuthering Heights. She said she wanted people to “chase after her”, to find out what she’d do next. “If I really wanted to, I could write a song that would be similar to Wuthering Heights. But I don’t want to. What’s the point?” she said in 1978.

This explains why over 40 years, it’s been impossible to anticipate her next move. She’s constantly created extraordinary musical netherworlds that have, in turns, taken in mainstream pop, Philip Glass-like minimalism and Balearic house, to name just three. To this day, Bush remains one of pop’s last great eccentrics. Her sold-out and critically lauded run of 22 shows at Hammersmith Apollo in 2014 showed what a force she remains.

But it was the uniqueness of Wuthering Heights that gave her this licence to experiment. Its release announced the arrival of an honest, unusual and fearless performer, rather than the arrival of a singer of piano ballads based on Victorian gothic literature.

As all truly great performers would, Bush used her unforgettable and idiosyncratic debut as a springboard rather than a template. And it is sadly unimaginable, in our more homogenised pop climate, with its fragmented listening patterns and lack of must-see TV music shows, that a song such as Wuthering Heights would have such a national impact if released today”.

I would point people to this article from Dreams of Orgonon when it comes to exploring the inspiration for Wuthering Heights, why it is so effecting, original and enduring. I am going to end with this article from Steve Pafford, who ranked it third when considering the greatest debut singles of all time. I don’t think anything like Wuthering Heights has come along since:

“A doctor’s daughter, Kate began playing piano at age 11, writing songs at 13, and making a demo tape with Pink Floyd‘s Dave Gilmour at age 16. EMI signed her and gave her two years to develop her songwriting and that otherworldly four octave range voice. Oh, and the dancing. Those “self-expression” lessons with Bowie‘s former mime mentor Lindsay Kemp had certainly paid off, as the landmark track’s engineer Jon Kelly would attest:

“In the case of Wuthering Heights, she was imitating this witch, the mad lady from the Yorkshire Moors, and she was very theatrical about it. She was such a mesmerising performer — she threw her heart and soul into everything she did — that it was difficult to ever fault her or say ‘You could do better.’”

Kate’s handwritten lyrics. Yup.

Everything But The Girl’s Tracey Thorn takes up the story…

“In 1978, when Kate Bush released Wuthering Heights, I was too immersed in my punk records to like it. More than the fact that it featured piano – drippy – and referenced a novel – swotty – I struggled with the singing. That melodramatic, all-over-the-shop approach to vocal melody just screamed “hippy” at me, and seemed to be the aural equivalent of shawls, beads, headdresses and candles, all of which I suspected Kate Bush was wearing or surrounded by while she recorded the vocal.

It was this very flamboyance that imprinted itself on people’s minds and made it so appealing to the amateur performer (still imprinted on my eardrums, eyeballs and indeed damaged psyche, is the memory of two friends’ moving rendition at a Christmas karaoke party), but singing in that way, in that voice, steered the song close to the ridiculous.

You could contend that the novel itself is somewhat manic and hysterical, so Kate Bush’s vocal is true to the tone of her source material, and yet, what a gamble to take. It paid off, of course – four weeks at No 1 for a debut single about a Victorian novel isn’t bad going – and proved once again that with rock and pop singing it’s probably safe to say that you can never go too far in your quest to find a distinctive voice for yourself.”

At the time people assumed Bush would be a one hit wonder. The single certainly sailed close to being a novelty hit (“Sounds like a bag of cats!” John Lydon‘s mam told him when the Sex Pistol brought the 45 home), but 40 years on here we are. Incredibly, Kate, who’d spent her childhood in the Kent countryside “immersed in English folk music, and Irish jigs and sea shanties,” was just 19 when Wuthering Heights topped the British charts, knocking off Abba‘s Take A Chance On Me and spending four weeks weeks at the summit, holding off a cheeky challenge from Blondie’s Denis.

It also reached the top spot in Ireland, Australia, New Zealand and Italy, and was a smash right across the world. Except the US. Go figure.

While Debbie Harry and her auto-American boys only had to wait a year before going that one step further in with Heart Of Glass and a succession of other UK chart-dominators, Wuthering Heights remains KB’s only No.1 single to date – the closest she’s come since being 1985’s Number 3-peaking Running Up That Hill (A Deal With God), the trailer for her undisputed masterpiece, the epic dreamscape that is the Hounds Of Love.

If we can talk an earlier album for a second; Amazingly, in the pre-Madonna, pre-Adele days of 1980, Bush’s third set, Never For Ever, was the first ever long-player by a British female solo artist to top the UK album chart. Bolstered by a triumvirate of memorable hits – Breathing, Babooshka, Army Dreamers – it was also the first LP by any female solo artist to enter the chart at No.1. In 2014 she was still setting new records.

Thanks to the hardly surprising hoo-ha surrounding Before The Dawn, her first live shows in 35 years, Kate became the first woman to have eight albums in the Top 40 simultaneously. Indeed, at the end of that August every one of her eleven (11!) albums made an reappearance in the Top 50, a pretty staggering achievement for a living artist.

Remix fix? In 1986 Kate inexplicably re-recorded the song’s vocals for her only singles collection, The Whole Story because “It sounded dated. I think if we’d had more time I probably would have done the same with a couple of other songs.” Wow, just wow.

Wow, what a career, what a startlingly original talent. Kate’s had so many brilliant and unique songs course through her veins – Cloudbusting, The Man With The Child In His Eyes, This Woman’s Work, Under The Ivy, The Sensual World, Moments Of Pleasure to reel off just a few – and all of them self-penned. What vision, what self-possession. She really is the closest any country has got to producing a female Bowie.

But unlike the grand old Dame, she was never interested in that ghastly word celebrity, and never flinched from her bloody minded refusal to present her affecting art on her own terms. This is why we love her – those admirable qualities to never compromise, never play the game and to do what the fuck she wants.

Cherish the genius. Cherish that cultural legacy. Cherish the Bush.

Long may she reign.

Released on 20th January, 1978, Kate Bush, EMI or anyone in the world could quite have anticipated how Wuthering Heights would explode. That is would be discussed, performed and played forty-eight years after its release. One of the most staggering debut singles ever released, it was during 1979’s The Tour of Life, when she could really bring something out of it. Playing life to audiences around the U.K. and Europe, Bush would slightly detach herself from the song in years since. Perhaps not a fan of her original vocal, many critics attacked it and ridiculed her for being hitch-pitched and witch-like. Many associating everything Bush did after with Wuthering Heights and that sound. However, Kate Bush should be immensely proud of her masterpiece! The fact that she wrote it when she was eighteen is still something I cannot comprehend! Proof that, from the very start, Kate Bush was this…

SONGWRITING genius.

FEATURE: Kate Bush: Something Like a Song: Love and Anger (The Sensual World)

FEATURE:

 

 

Kate Bush: Something Like a Song

Love and Anger (The Sensual World)

__________

SOME might see this song…

as the opposite of what one would associate with The Sensual World. Kate Bush’s sixth studio album was released in 1989. Many would associate the album with something sensual, romantic and positive. Songs that are of a particular vibe. However, it is a varied and complex album where Kate Bush addresses a number of different themes and stories. However, in terms of love and romance, Kate Bush is notable for being very positive. Love and Anger is a song that suggests recriminations, doubts and the actual realities of a relationship. A sense of loss and defeat (“If you can't tell your sister/If you can't tell a priest/'Cause it's so deep you don't think that you can speak about it/To anyone/And you tell it to your heart?/Can you find it in your heart/To let go of these feelings/Like a bell to a Southerly wind?/We could be like two strings beating/Speaking in sympathy/What would we do without you?”). If not the first time a love song from her was more negative or balanced, it was a window into her romances and relationships of the time perhaps. It is a fasting song. I want to take a closer look at Love and Anger. It is one of the standouts from The Sensual World, though it is not often talked about. There are some features/reviews that I am going to drop in. It is a fascinating song. One of the most-streamed from The Sensual World, I think that its popularity is more the fact it is the second track and follows The Sensual World’s title track, more than the fact people go after the song and know it. I never hear this song played on the radio, and it is really not discussed much. In terms of sequencing, I would have thought Love and Anger would be fourth or fifth down, though Bush put this song right near the top. The third and final single from the album released on 16th October, 1989, Love and Anger was released on 26th February, 1990 and reached thirty-eight in the U.K. More notably, Love and Anger charted on the US Billboard Modern Rock Tracks chart that December at number one - it was Bush's only chart-topper on any U.S. chart until 2022 (when Running Up That Hill (A Deal with God) was revitalised and reintroduced to a new audience after appearing In Stranger Things).

We forget how we’ll-received The Sensual World was. It has received so many positive reviews and love, in spite the fact it came out at a time when other genres were popular. It was sort of Rave, Club music and the second Summer of Love (1988-1989). U.S. Hip-Hop was taking hold and bands like Pixies, Nirvana and New Order were more popular. In terms of female solo artists, U.S. giants such as Madona and Janet Jackson were more in vogue. The Sensual World was like nothing else around in 1989, which is perhaps why it charted so well and was acclaimed. Audiences wanted something genuinely alternative at a time when Alternative bands were perhaps not; Pop somewhat too stagey, showy or commercial. I love how the B-sides of Love and Anger include Ken, One Last Look Around the House Before We Go, and The Confrontation. Walk Straight Down the Middle on the U.S. cassette version. Be Kind to My Mistakes for the Canadian cassette. The first single on the U.S. label, Columbia Records, it is great that audiences there connected with the song. It was a period where she was getting more recognition in America. Hounds of Love was perhaps her first album to properly get some love and respect there – even if reviewers were mixed and interviewers occasionally clueless -, even though The Dreaming got some focus. However, The Sensual World and 1993’s The Red Shoes were a success. The latter reached twenty-eight on the Billboard 200. Love and Anger’s success is all the more amazing, as it is a track that Kate Bush was not sure what she was trying to say. A hard and inorganic writing process, I do wonder why it was chosen over a single over, say, Never Be Mine, Rocket’s Tail or even The Fog. The U.S. reaction was genuinely more effusive than the homegrown critics’.

Consider the range of reviews and how there was a sole U.K. moment of praise; U.S. critics much more tuned in and aware of a brilliant song when they heard it. Thanks to the Kate Bush Encyclopedia for providing these useful resources. Baffling why U.K. press were so unkind and nasty to Love and Anger I suspect they were much more into what they thought was cool at the time: Grunge, Alternative and even Dance and Rave. Something with more sophistication, depth and beauty sort of passed them by and went over their heads:

“Is it too late to take back all those gushing hymns of praise we wrote in homage to Kate’s recent LP? [This is] pretty dispensable, fairly orthodox pop-rock listening.

Paul Lester, Melody Maker, 3 March 1990

Kate seems to have lost the plot… all middle without a beginning or an end… lost in an unfocused mire…

Tim Nicholson, Record Mirror, 3 March 1990

Dynamic understanding and depth that is quite untouchable. Bloody fantastic.

Phil Wilding, Kerrang!, 3 March 1990

Remarkably, US reviews were much more positive:

Bush recalls her ‘Big Sky’ in this lively introspective number from the hit album… already a no. 1 smash with modern rock programmers.

Bill coleman, Billboard (USA), 9 december 1989

This bristles with vigour electricity and life… fuelled by cascades of crashing guitars and a huge chanting chorus of background vocals… captures the power and sweetness of Kate Bush’s voice and music.

College Music Journal (USA), November 1989”.

Kate Bush spoke to U.K. and U.S. journalists/broadcasters about Love and Anger. Sometimes in exasperated tones! This challenging song, the fact again it was a single meant that she either felt it would be successful or EMI were pushing to put it out. I have dropped this information in before, but I want to come back to the Kate Bush Encyclopedia and their great work including these interesting interviews:

“It’s one of the most difficult songs I think I’ve ever written. It was so elusive, and even today I don’t like to talk about it, because I never really felt it let me know what it’s about. It’s just kind of a song that pulled itself together, and with a tremendous amount of encouragement from people around me. There were so many times I thought it would never get on the album. But I’m really pleased it did now.

Interview, WFNX Boston (USA), 1989

I couldn’t get the lyrics. They were one of the last things to do. I just couldn’t find out what the song was about, though the tune was there. The first verse was always there, and that was the problem, because I’d already set some form of direction, but I couldn’t follow through. I didn’t know what I wanted to say at all. I guess I was just tying to make a song that was comforting, up tempo, and about how when things get really bad, it’s alright really – “Don’t worry old bean. Someone will come and help you out.”
The song started with a piano, and Del put a straight rhythm down. Then we got the drummer, and it stayed like that for at least a year and a half. Then I thought maybe it could be okay, so we got Dave Gilmour in. This is actually one of the more difficult songs – everyone I asked to try and play something on this track had problems. It was one of those awful tracks where either everything would sound ordinary, really MOR, or people just couldn’t come to terms with it. They’d ask me what it was about, but I didn’t know because I hadn’t written the lyrics. Dave was great – I think he gave me a bit of a foothold there, really. At least there was a guitar that made some sense. And John [Giblin] putting the bass on – that was very important. He was one of the few people brave enough to say that he actually liked the song.

Tony Horkins, ‘What Katie Did Next’. International Musician, December 1989”.

Whilst people have reviewed the song, there is a bit of a mixed reaction. However, I want to bring them in, as I really admire Love and Anger and think it was a worthy single. One that should have done better in the U.K. Maybe genres popular in the U.S. fitted the song and so the press connected better – and, in turn, people were inspired to buy the single. It was a different sound in the U.K., so maybe critics were cynical and more jaded here. I am going to get to a more mixed reaction of Love and Anger. This Substack is an interesting read:

“Lyrically, the song matches a lot of Kate Bush’s themes of love, friendship, deep thoughts and introspection. In “Love and Anger,” she reflects on how difficult it can be to express one’s innermost thoughts or concerns if you don’t know for sure who you can rely on to be a confidant. She talks about how she has something buried so deep, she “doesn’t think she can speak about it.”

It could take me all my life
But it would only take a moment to
Tell you what I'm feeling
But I don't know if I'm ready yet

My kids are like this. Granted, not everything they keep to themselves is a deep, introspective thought unwilling to be dredged up to the surface; sometimes it’s because they felt bad about breaking something or forgetting to do something. But the point of the song is, regardless of what it is you might be holding inside, you need to be sure you’re ready to release it, and that you can confidently express that emotion to someone willing to listen.

After that struggle, Kate Bush’s narrator conceded that yes, eventually, you should be able to connect with that person or people:

You might not
Not think so now
But just you wait and see
Someone will come to help you

We’re all built like that. There’s no one alive that can get through their days without finding an outlet for their emotions and feelings, but it’s the risk of being hurt that creates the confusion. Kate Bush infuses an intensity to that moment in her performance, coupled with a wide range of musical influences coming together to create that sense of simple chaos. It’s a well-arranged piece of music.

Despite the success of this song on the MRT charts, it never made it on to the Hot 100 and ultimately faded from the U.S. charts entirely in the early weeks of 1990. It took another 15 years for Kate Bush to reach the top 10 of the British charts, hitting #4 with “King Of The Mountain” in 2005. It did not chart in the U.S.

Kate Bush might not be your cup of tea artistically. I know her songs, even “Running Up That Hill,” are not really in rotation on my typical playlists. But she is definitely an interesting and talented artist, with a very unique and powerful voice. “Love And Anger” wouldn’t have been a legacy hit for her even before her resurgence in 2022, but it’s a decent part of her extensive catalog.

Rating: 6/10”.

IN THIS PHOTO: Kate Bush in 1989/PHOTO CREDIT: Kevin Cummins

In 2023, for their Alternative Number Ones feature, Stereogum provided a passionate and very positive analysis of Love and Anger. If the U.K. press were somewhat cold and distant, Love and Anger has got this retrospective admiration and intrigue. People looking at deeper cuts after the resurgence with Stranger Things and Running Up That Hill (A Deal with God). Love and Anger feels more relevant or fits in better today than 1989’s U.K. music scene:

“In The Alternative Number Ones, I'm reviewing every #1 single in the history of the Billboard Modern Rock Tracks/Alternative Songs, starting with the moment that the chart launched in 1988. This column is a companion piece to The Number Ones, and it's for subscribers only. Thank you to everyone who's helping to keep Stereogum afloat.

A couple of weeks ago, Kate Bush was inducted into the Rock & Roll Hall Of Fame, and she surprised exactly zero people by neglecting to show up. Kate Bush doesn't show up to things. It's a key part of her mystique. Bush has toured exactly once, in 1979. She's performed in the US exactly once -- musical-guest duties on a 1978 Saturday Night Live episode with Eric Idle as the guest host. Whenever Kate Bush leaves the house for any reason, it's a five-alarm story in the music press. She wasn't going to no damn Hall Of Fame induction ceremony. I wonder if she even watched Big Boi give her induction speech and St. Vincent cover "Running Up That Hill."

"Running Up That Hill," as you probably already know, is the reason that the Hall Of Fame inducted Kate Bush after all of her years of eligibility. In 2022, that song caught a sudden and glorious surge of attention after being featured heavily on the most recent season of Stranger Things. (Winona Ryder, one of that show's stars, says that she pushed for the song's inclusion, which absolutely tracks.) "Running Up That Hill" suddenly became a global smash, topping charts around the planet and coming very close to the apex of the Billboard Hot 100. It was one of the most beautiful feel-good stories of the past few years of pop music, and Kate Bush didn't have to do a single thing to set its wheels in motion. "Running Up That Hill" was already her biggest hit before Stranger Things, and the song was just sitting there, waiting for entire new generations to notice.

Pre-Stranger Things bump, Kate Bush was already a creature of legend. In her homeland, Bush was a giant pop star from jump street, finding huge success before she was even out of her teens. She built a career entirely on her own terms, producing her own records and directing her own videos. Then, she essentially disappeared, going off to live in her castle and only reemerging for bafflingly weird and reliably fascinating projects at irregular intervals. Her absence is central to her mystique, and it's never stopped her music from resonating. Before the Stranger Things thing happened, my daughter discovered Bush's batshit 1980 single "Babooshka" via TikTok. I have to imagine that there will be more Kate Bush resurgences, and that Bush herself won't need to do anything to spur them on.

Kate Bush songs tend to sound like they're echoing up from some hidden, mystical cavern. She's been a ghostly presence for so long that it's almost hard to remember the period when she was an active recording artist who was trying and mostly failing to break into the American market. (Admittedly, she wasn't trying that hard. She doesn't like to fly, so she wasn't going to physically come over here.) In 1989, Kate Bush had only made a few minor inroads on the Billboard charts, partly because there was no radio format where her music made a ton of sense.

Kate Bush didn't even entirely make sense on Modern Rock radio, though her lush sonics and romantic maximalism weren't too dissimilar from the arch and mopey British rock bands who were all over those playlists at the time. Her flowery, indulgent orchestrations had more to do with prog and art-rock than with the punk that influenced most of the other acts on those stations. But Bush had taken a long break after Hounds Of Love, her most successful album to that point, and her return was an event. That event was enough to turn "Love And Anger," the wild and twisty and gorgeous single from her album The Sensual World, into Bush's only #1 hit on the Modern Rock chart. I'm glad it was enough, since it means that I get to write about an extremely cool career.

Catherine Bush, the daughter of an English doctor and an Irish nurse, grew up in an ancient farmhouse on the outskirts of London. She was an artistic kid who taught herself to play piano and violin, and she started writing songs very young. Her parents paid for her to record a 50-song demo tape when she was 16. No labels were interested, but a family friend connected Bush with Pink Floyd guitarist David Gilmour, who became a regular collaborator over the years. Gilmour paid for a new demo tape, and Bush recorded it with big-deal producer Andrew Powell. That was enough to convince EMI to sign Bush, who was still a kid.

EMI actually kept Kate Bush on the shelf for a couple of years, and she used that time to study interpretive dance and mime. She also formed a group called the KT Bush Band and played London pubs; anyone who saw them back then can now drop this anecdote at a party and make everyone else violently jealous. Finally, Bush released her debut album The Kick Inside in 1978, a few months before her 20th birthday. Her debut single "Wuthering Heights" went all the way to #1 in the UK. It was the first time that a female artist topped the singles chart over there with a song that she'd written herself. In the UK alone, The Kick Inside sold a million copies, which meant that something like 2% of the population bought the record.

"Wuthering Heights" didn't do any business in America, but another single from The Kick Inside, "The Man With The Child In His Eyes," scraped the bottom of the Hot 100, peaking at #85. It would be seven years before Kate Bush landed on the Hot 100 again. Bush rushed her sophomore album Lionheart out a year after The Kick Inside, and it wasn't anywhere near as successful as her first. In 1979, she developed a theatrical, elaborately choreographed spectacle, and she took her Tour Of Life out on the road. Except for a few televised single-song performances here and there, Bush wouldn't play another live show for 35 years.

Kate Bush recorded her first two albums with Andrew Powell, the same guy who'd produced her demo. For 1980's Never For Ever, Bush started to take over as producer, sharing credit with audio engineer Jon Kelly. After that, Bush produced every one of her albums on her own. 1982's The Dreaming is the first LP that Bush produced entirely by herself, and it's a wild ride. Bush got really into drum machines and into Fairlight synthesizers, but she didn't use them for the mechanical rhythms and sleek textures of that era's synthpoppers. Instead, Bush let those sounds unlock some strange, expressionistic new textures. Her voice had always been wispy and eccentric, but parts of The Dreaming are downright freaky, in the best way. She sounds delightfully unconstrained, free to yelp and howl and screech about her undying fascination with Victorian femininity.

Kate Bush followed The Dreaming with her masterpiece. 1985's Hounds Of Love uses the experimental electro-organic textures and proud indulgence of The Dreaming in service of alternate-universe pop songs -- some of which worked, and continue to work, as pop songs in this universe. In the UK, "Running Up That Hill" was Bush's biggest hit since "Wuthering Heights." Other Hounds Of Love songs, like the title track and "Cloudbusting," immediately entered the music-nerd canon. In the US, "Running Up That Hill" was a bit of a fluke hit, going all the way to #30 on the Hot 100. The whole album is absolutely astonishing, and I would encourage anyone to carve out some time and just disappear into it.

From the very beginning, Kate Bush won the admiration of her peers, especially among veteran British art-rock types. David Gilmour was an early fan, and so was Peter Gabriel; Bush learned about the magic of Fairlight synths while singing backup on his self-titled 1980 album. (Gabriel, who will eventually appear in this column, has a bunch of self-titled albums, but this was the melty-face one. She's the echoing trill on "Games Without Frontiers.") In 1986, Gabriel wrote a beautiful song called "Don't Give Up," and he hoped to record it as a duet with Dolly Parton, which would've doubtless been cool. Dolly passed on the track, so Gabriel recorded it with Kate Bush instead. I love the idea that he heard some similar serene tenderness in those two radically different voices.

Peter Gabriel's So album became a gigantic hit, and "Don't Give Up" went top-10 in the UK. "Don't Give Up" also made it to #72 on the Hot 100 -- Bush's third time on that chart. After Hounds Of Love and "Don't Give Up," there must've been a ton of anticipation for another Kate Bush record. Bush didn't release The Sensual World until four years after Hounds Of Love. Bush worked hard on The Sensual World, and she followed her muse to some unexpected places. The title track’s lyrics are a reworked version of Molly Bloom's speech from Ulysses. (The Joyce estate wouldn't let her use his words verbatim.) She sings another song, "Heads We're Dancing," from the perspective of a woman who spends a romantic 1939 evening dancing with a dashing stranger who turns out to be Hitler. Any label execs who hoped that she'd go fully pop after Hounds Of Love must've been pounding their heads on their desks.

A year before The Sensual World came out, John Hughes used a remixed version of Bush's then-unreleased song "This Woman's Work" to soundtrack a montage from his movie She's Having A Baby. (Kate Bush, incidentally, has some random-ass soundtrack songs on her resume, including one for the the 2000 CGI cartoon Dinosaur and another for 2007's leaden YA-fantasy flop The Golden Compass.) These days, "This Woman's Work" is by far the most popular song from The Sensual World, thanks in part to a stunning version that her fellow art-pop enigma Maxwell sang on his 1997 MTV Unplugged EP. (That Maxwell cover did better on the Hot 100 than almost any actual Kate Bush song. It peaked at #58.) But the Sensual World song that took off on American alt-rock radio was the song that Bush had the hardest time writing.

In her all-too-rare interviews, Kate Bush never even liked to talk about "Love And Anger"; she evidently regarded the song as a massive pain in the ass. Bush had the music for "Love And Anger" first, and it took a year and a half for her to figure out the lyrics that she wanted to write. After the song came out, Bush said that she still didn't know what it was about. Bush's lyrics are often deliberate and exacting, rife with literary references. With "Love And Anger," she just wanted to get the damn thing done. But I like the idea that her frustration forced her to work on sheer instinct.

I don't know what "Love And Anger" is about, either, but its vast and overwhelming swirl of emotions is powerfully evocative. Since Bush can't or won't say what the song is about, you can come up with your own reading. I hear a lot of pain and regret in "Love And Anger," and also hear a certain nurturing warmth. Bush seems to be encouraging someone to stay strong through a painful period, much as she did on "Don't Give Up." There's a lyric that I hear as a reference to childhood abuse -- "If you can't tell your sister/ If you can't tell a priest/ 'Cause it's so deep you don't think that you can speak about it to anyone/ Can you tell it to your heart?" Maybe that's not what Bush meant, but authorial intent isn't everything, and that shit hits me hard.

The sound of "Love And Anger" is certainly self-indulgent -- all those drums and massed backup vocals and hammering pianos and flinty guitar notes swirling and building, without anything resembling a stick-in-your-head hook. But Kate Bush is the kind of artist who can turn self-indulgence into a strength rather than a liability. Bush said that she had a hard time recording the song, getting the musicians to play the right things, but her perfectionism paid off. "Love And Anger" plays out like a gathering storm, and I love the way the sheer sound of the thing can swallow a room.

Kate Bush's old buddy David Gilmour played guitar on "Love And Anger" and gets a few guitar-face close-ups in the video. Plenty of the bands on the late-'80s Modern Rock charts had some level of Pink Floyd influence, but none of them had access to actual Pink Floyd guys. That's just a Kate Bush thing. The wheedly, choppy guitar bits at the end of "Love And Anger" have a bit of late-'80s studio cheese on them, but they still come out rough and sharp, and I love the power chords that Gilmour plays early in the track. But despite the superstar guest, the guitars don't really overwhelm "Love And Anger." Instead, they're simply part of the whirlwind, along with the busy pianos and thrumming bass notes and some kind of zither, maybe? And the drums. There are so many drums on "Love And Anger," booming and whapping and crunching and bubbling and thundering.

Over all that music, Kate Bush sings about the need to let go of your feelings, and she sounds like she's letting go of hers. She starts off soft and welcoming, but pretty soon, she's yowling and trilling and yipping with efflorescent exhilaration. She turns her multi-tracked voice into a reverb-soaked choir on the backups. She also does this wobbling-hum thing that I just love. At the end of the track, she whispers "yeahhhh" and then laughs uproariously. She's just gotten through all this emotional heaviness, and she sounds positively exultant.

All of Kate Bush's self-directed videos are strange and singular, and the "Love And Anger" clip is a total hoot -- gold-dust showers, whirling Sufis, glowing scepters, a phalanx of ballet dancers, Bush staring straight into the camera with a playful sort of pride. As the clip ends, Bush is up on a soundstage with her band, showing the kind of dance moves that she almost never bothered to attempt in front of a paying audience. Bush's dancing has a drunk-aunt-at-the-wedding quality, and I love it. It's not terribly graceful, but she is in it. She's fully focused, man.

"Love And Anger" never crossed over to the Hot 100, but The Sensual World eventually became Kate Bush's biggest-selling album in the US, going gold four years after its release. (That's still Bush's only RIAA certification, though "Running Up That Hill" has probably done multi-platinum numbers by now.) In 1990, the title track of The Sensual World reached #6 on the Modern Rock chart. (It's an 8.) Then, in 1990, Bush covered Elton John's "Rocket Man" on the Elton John/Bernie Taupin tribute album Two Rooms, and her version of the song reached #11. It slaps.

It's pretty wild to try to figure out Kate Bush's reputation in the late '80s and early '90s. Bush was never an overwhelming critics' favorite, though both Hounds Of Love and The Sensual World did decently on the Village Voice Pazz & Jop critics' poll. (Critics put The Sensual World at #26 for 1989 -- not great, but still a few steps up from Rhythm Nation 1814 and Disintegration.) SPIN’s review of The Sensual World gets stuck on Bush's "kitteny stuff": "Her father-fixation, her little giggles and mews, and her hairdos are the stuff Playboy reps scout college campuses for" -- exactly the sort of terribly sexist and dismissively snarky tone that rock critics work hard to avoid today. (In fairness to writer Don Howland, of the garage punk bands Bassholes and Gibson Bros., that review also contains this phrase: "She likes to stretch her voice into the sort of Minnie Riperton-esque tweets that tend to appeal to people who like cats more than dogs but otherwise have good senses of humor." That's just good writing.)

Kate Bush followed The Sensual World with a record that critics definitely did not like. 1993's The Red Shoes was about a sleek and commercial as a Kate Bush record could be, and it wasn't really suited to the alt-rock moment in which it came out. In America, grunge was ascendant, but Kate Bush was collaborating with Prince and Eric Clapton, artists who were nowhere near that zeitgeist. Lead single "Rubberband Girl" peaked at #7 on the Modern Rock chart, and the Bush didn't return to that chart for another 29 years. ("Rubberband Girl" is an 8.)

After The Red Shoes, Kate Bush became a mom, and she left music behind entirely until returning with the 2005 double album Aerial. Great record. Since then, there's only been one more Kate Bush studio album: 2011's bugged-out 50 Words For Snow, which has an eight-minute Elton John duet and a 14-minute song about a night of passion with a snowman. Wild shit. That's a great record, too. In 2014, Kate Bush returned to the stage for Before The Dawn, a three-week London residency that might mark the last time that she ever performs live. If you got to see one of those shows, I congratulate you. Good job. You handled that situation well.

GRADE: 9/10”.

I will leave it there. I have included the B-sides for Love and Anger, as I feel they are also important and show that Bush had all these incredible songs that were not well-known or big hits. A modest success in the U.K. but a much bigger one in the U.S., Love and Anger is a Kate Bush song that should be played and talked about more. The third single and second track from The Sensual World, it turned thirty-five earlier in the year. After all of these years, it still…

SOUNDS truly fantastic.