#JCsMusicology - Kate Bush (1987 - 1994)

JOHN CAMERON�S MUSICOLOGY Episode X: Kate Bush (87 � 94) The Sensual World This Woman�s Work, The Sensual World/ Flower of The Mountain, Rockets Tail, Deeper Understanding, Head�s We�re Dancing, Never Be Mine The Red Shoes Rubberband Girl, Moments of Pleasure, Eat The Music, Lily, Why Should I Love You Top of The City Introduction Kate Bush is as much an indisputable enigma, as she is a musical genius. Having showcased her unique voice and bewitching choreography from her first two albums, her most innovative work would take place during the eighties, on the albums �Never for Ever�, �The Dreaming� and her best-selling �Hounds of Love� in 1985, on these, her co-producing would be more heavily involved. With the advent of drum machines and the revolutionary Fairlight CMI digital synthesizer, her eclectic compositions could be realized, matching that of her lyrics, concepts and vocals. Even when utilizing real instruments, such as incorporating digeridoos, mandolins and uilleann pipes, the results were equally as enchanting. A menagerie of sonic diversity. The gaps between her albums were getting progressively longer. While the chart success and singles of �Hounds of Love� would continue into mid-1986, and a duet with Peter Gabriel would be released in October, fans would have to wait until 1989 before receiving a full album, which would be �The Sensual World�. After that, another four years would pass until the release of �The Red Shoes�. What�s remarkable about these two albums, is that in 2011, selections from each would be rerecorded and reconfigured into �Directors Cut�, a cohesive album, which easily stands on its own, not replacing the source material. It�s impossible the focus on the late eighties to early nineties period, without making reference to their modern versions. This Woman�s Work In early 1987, Kate was sent a workprint of the upcoming John Hughes romantic comedy film, �She�s Having a Baby�, with the intent of contributing a song, for a specific scene. �This Woman�s Work� is such a significant piece in Bush�s discography. It touches on universal emotions and regrets, even though Kate has been clear that it�s makings were inspired purely from the film. When neo-soul artist Maxwell would cover it years later (to greater chart success) it would have another life, reaching more diverse communities and touching more people. With all that considered, it amazing to think that it came from a place of just scoring a scene. This speaks to Kate�s incredible ability to write for the characters manifested in her mind or someone else's. Even years later, when she would radically alter the composition and performance of her vocals, herself, as herself were as removed as when she first wrote those powerful lyrics. The song was complete almost a year before the film would be released and despite its feature on the film�s soundtrack, it would have its place on her next project that following year. The sessions for which, would continue on from this period... The Sensual World/ Flower of The Mountain Inspired by Siobhan McKenna�s reciting �Soliloquy of Molly Bloom�, from James Joyce�s book, �Ulyses�, Kate set out to match the latter part of the twenty-nine minute monologue to music. For further context, the focused-character in the piece, �Molly Bloom� is embarking on an affair to spite her husband. �Ulyses� is written in a multitude of different styles throughout it�s chapters, but this final piece would reflect an internal monologue, over eight lengthy paragraphs with minimal punctuation. Bush wanted to transpose many of its last lines into a song, accentuating its raw expression of sexuality. No gaining approval meant the revamp would reflect more sensuality of what's around us. An experience uncharted for any book character, formerly limited by the environments and possibilities of the those they were once trapped in, now exploring �The Sensual World�. The music itself is almost unidentifiable as a genre. The main hook of the instrumentals is inspired from a traditional Macedonian piece, known as �Nevestinsko Oro� (Aka: �Bride's Dance�), which on this track, a similar composition would be recited on Irish uilleann pipes. Constantly frustrated at EMI�s lacking quality control, to make Kate�s music sound good during the mastering stage, the 12� vinyl acetate would be double grooved. If the needle moved in on one open groove, the album verion would play. If it entered another, the instrumental version would. She didn�t tell the record company, who couldn't tell the pressing plant. Confusion ensured. The results of Bush�s test would be rectified with a company-sanctioned sticker on every copy, clarifying the records contents. Her original vision would finally see fruition in 2011�s �Directors Cut� album, having then received permission from Joyce�s Estate. This, would be retitled �Flower of the Mountain�. With its lyrics realized, it�s composition would be slightly extended and stripped back, removing snares and toms, while accentuating it�s previously subdued bassline. Through its more natural sound, this is the sensuality its original described. Rockets Tail Kate Bush�s sound would be forever evolving, she was never afraid to try new styles or genres. The most apparent on �This Sensual World� would be the contributions of Bulgarian vocal ensemble, �Trio Bulgarka�. With Kate�s insatiable curiosity, her genre-pushing endeavors would be auspicious. �Trio Bulgarka�s� background vocals would feature on three songs for this album and three on the next. While her compositions were profoundly forward-thinking, her lyrics were very much in-the-moment. Pink Floyd�s David Gilmour, who is essentially responsible for showcasing Kate Bush to the world, would contribute his guitar for several short, screeching solos. Deeper Understanding Kate Bush�s work has always touched on aspects of life and society less explored by other singers. But one track on �This Sensual World� would border on being prophetic. Remember, this song is from 1989, possibly written with in the years before. At this point, roughly 15% of households in the United Kingdom and United States owned a computer, even less with internet access. Even among futurists and modern philosophers, the notion of computer addiction was rarely an issue explored. This song, released thirty years ago, is predictive of a more common problem today. Bush would realize her initial vision for the song in its later form, having her son Bertie rerecord the computer section, replacing her own vocoded vocals. Head�s We�re Dancing While many of Kate�s songs are written as characters, she like any other conventional songwriter would still take from real life experiences to form narratives. Even though �This Sensual World� is an album about love (or those you know the most), �Head�s We�re Dancing� would touch upon more sinister acquaintances. Knowing the backstory to this track gives an otherwise interpretive set of lyrics more vivid imagery, with its sneakily odious nature. It makes an otherwise skippable song into something to analyze. The parallels between her poetry and its inspiration are an interesting confluence to analyze � whether music or sociologically based. This, like �Rocket�s Tail� would not be rerecorded for �Director�s Cut�, but they are both significant numbers to the final sum. Exercises in composition and lyrics, which were still clearly maturing, even this far into her career. Never Be Mine �Never Be Mine� is underrated. It�s perhaps the most universally emotive track on the album (and that is acknowledging the frequent strong themes of love in a broader context). Upon the album�s release, she said, �It's that whole thing of how, in some situations, it's the dream you want, not the real thing. It was pursuing a conscious realization that a person is really enjoying the fantasy and aware it won't become reality. So often you think it's the end you want, but this is actually looking at the process that will never get you there. Bit of a heart-game you play with yourself.� Descriptions of failure is not an uncommon theme in music, but acknowledging our delusion in fantasy when it�s occurring is rarely touched on. The track is clearly significant to Kate. While it would be yet another rerecording for �Directors Cut�, it would also be considered for her 2014 concert residency, �Before The Dawn�. It didn�t make it into the show itself, but she did mix a rehearsal recording in with the live album that resulted. This would be the only track featured from �This Sensual World� considered for her first concerts in thirty-five years. It doesn�t matter who you are or what you�ve accomplished. Some of your dreams will never be realized. Knowing when to start and when to stop is the first step in prioritizing your aspirations. Surmise Breaking away from the tied-together narratives of her last album, �The Sensual World� is a series of ten individual stories that remain engrossing with each listen. Her subtle incorporation of different genres and collaborators ensured a noted musical progression in catalogue, along with the lyrical complexities that make all of her albums an adventure to analyze. Aside from the revamp of �This Womans Work�, the other three tracks that would later feature on �Director Cut� wouldn't deviate too far from their originals. This seems to suggest a level of satisfaction on Kate�s part, at least in comparison to the project that followed. The Red Shoes (Album) The time between Kat Bush albums would continue to grow. Her next album release would occur four years after �The Sensual World�, although there were plentiful b-sides and non-albums track for fans to savor during that time. The next full album, inspired by her favorite film, �The Red Shoes� would be released in November 1993. A lot had happened in her life during the years since the previous album. Her long relationship between her and engineer Del Palmer had ceased, although they would still continue to work together. Her mother had passed away a year before the album�s release. And she had lost others under a multitude of tragic circumstances. These sessions would show clear reflection of her feelings and accumulated relationships over the years. Bush once reflected, �I can�t think of a song of mine that isn�t a character, they are all written in character�. For much of �The Red Shoes�, it seems like that character is Kate Bush herself. Another big change would be the sound. Having not performed a live show since 1979, she would ensure that the sound of �The Red Shoes� would be something more replicable in a live setting, as that was the intention post-release. Rubberband Girl A prime example of this new band-sounding arrangement would be the lead single, �Rubberband Girl�. It�s quite the album opener. Its production is full, borderline funk, with a searing rock vocal, something Kate was suited for. But it�s also indicative that this wasn�t the same Kate we had heard on �The Sensual World� or �Hounds of Love� or �The Dreaming�... While the single would peak at number twelve on the UK Singles Chart, it would also see some success in the United States... But for different reasons. �Rubberband Girl (US Mix)� is significantly different. While the vocals are clearer, which is a treat in itself, the mostly-new instrumental strips any eclectic charm Kate Bush had built up since the beginning of her career. It�s almost remarkable that this was allowed to happen. While certainly not essential, the US Mix is a certain oddity in the Kate Bush catalogue, not resembling any production before or since. This version would be produced by DJ Eric Kupper. With that collaboration firmly in the past, when it came to rerecord the track for �Directors Cut� eighteen years later, the result arguably also couldn�t compare to the original. It�s repetitive nature and Rolling Stones-styled productions just doesn�t cut through the originals bombastic and bouncy arrangement. As Kate would later reflect, �The original Rubberband Girl was... Well, it�s a fun track�. Moments of Pleasure But �The Red Shoes� would have so much more to offer... A song of reminiscent sadness, but as much celebration, �Moments of Pleasure� would be the third single released from the album. While certainly song with a sentiment that anyone can relate to, its specific references are what makes it interesting. The veracity of these connected stories are questionable, but they are an attempt to polish all facets of this beautiful gem. While there are many speculations about �George, the wipe� a prominent theory is that during a 1981 session for her �The Dreaming� album, a tape op, named George, somehow managed to wiped (or destroy) a tape for a song she had just recorded. This has never been confirmed officially, but if true, the song would suggest she took it with good humor. Alan Murphey was a guitarist that had collaborated with Kate on her last four albums and was also part of her band in the late 70s. He passed away in 1989, having been weakened by Aids and catching pneumonia at the age of 35. While he does receive a more direct reference towards the end of the song, this next section is postulated to be about him as well. Pictures of a young Douglas Fairbanks and Alan Murphy seem to bare a resemblance. Bush continues the rollcall of important people in her life, past and present. Maureen, her aunt. Garry Hurst (Aka �Bubba�), a collaborating dancer. �S�Murph�, another reference to Alan Murphey. John Barret (Aka �Teddy�), and engineer on her early 80�s albums. Michael Powel, director of Kate�s favorite film, �The Red Shoes�. Bill Duffield, lighting director for Bush�s first concert tour, during which, he suffered an injury while setting up the show. He died shortly after. The 2010 version would be a complete rerecording, with no string accompaniment. Just Kate and her more matured vocal, along with some additional background vocals to add more complexity to the sparse instrumental. The chorus from the original would also be removed, with the intent of removing conventional song structure and making the lyrics a more succinct narrative. Eat The Music �The Red Shoes� would certainly offer some new classics in the Bush catalogue, while maintaining Kate�s usual quirkiness. Although �Rubberband Girl� was the lead single in the rest of the world, for the �United States�, their first introduction to the new album would be �Eat The Music�. And it�s indisputably a strange one. While it�s Madagascan sway and peculiar lyrics with fruit metaphors somehow relating to making a man show his love more has a certain element of charm. But for many, the song itself is regarded as a low point on the album. For those that do enjoy it, the single would offer and extended mix, lasting nine minutes and twenty seconds. Unfortunately, it doesn�t offer an fruit metaphors that aren�t present on the album cut, but it does take the instrumental through a series of breakdowns and build ups. For those that would prefer less, a radio edit is also available. �Eat The Music� would not be remade for �Directors Cut�. Lily Perhaps the most glaring example of excellence overshadowed by dated production, is �Lily�. Inspired by friend and spiritual healer Lily Cornfield, who opens the song with a Gayatri Mantra variation, the song�s heavy bassline and immersive guitar and synth mix, is severely let down by a thin-sounding drums. Bush�s dramatic vocal performance is, as always engaging, along with guest vocalist Micha Paris, but the �Director�s Cut� version would arguably be a significant improvement. The vocal would be just a great as the original, despite dropped a semitone, and the rhythm section with its new drums would be accentuated, as the reverb on the rest of the instruments would be minimized. Even with such a perfect amendment made to the track, the definitive version is undoubtedly the live �Before The Dawn� performance. Based off of the 2011 rerecording, the recital packs more energy than the other two combined. Every part of the song is appropriately metered, with the entirely live vocal performances from both Kate and her handful of background singers maintaining downright perfection. Despite its lacking initial recognition and delivery, Kate transformed it into an amazing production, worthy of opening her live comeback residency, to collective acclaim. Why Should I Love You Production for the album had occurred not too long after the release of �The Sensual World�, one of the first songs written for the album would be the passioned �Why Should I Love You�. The track radiates Bush�s style � a touch of eccentric instrumentation with a vocal that goes from a soothing rendition of poetry to a frenzied performance without notice or jarring the listener. It�s sound is very similar to the album that came before, which may be why she sought after a collaboration, to steer it into a new direction. In 1990, Kate Bush saw Prince perform during his �Nude Tour�, where the two met backstage. Both hugely admired each other's work, and Kate invited Prince to perform background vocals on her newly recorded song. Prince accepted; Kate organized the tapes be sent to his Paisley Park Studio in Minneapolis that following year. Prince recorded his background vocals. And guitar. And bass. And keyboards. Kate and her engineer received an almost completely revamped songs, not quite knowing what to do with it for two years. The final mix would be a pretty even combination of both Prince�s and the early version, with a few edits and additions, such as further background vocals by comedian Lenny Henry. Top of The City Another song that would receive a stunning update to its original, in both its 2011 and live versions would be �Top of The City�. Progressively with each revision. Like many others, the benefit comes from the newly refined rhythm section and, especially in the live performance, Kate�s incredible vocals, delivering her consistently vivid lyrics. While �The Red Shoes� marked for many a low point in her catalogue, what has become evident, especially with �Directors Cut� is the amount of potential these songs had, marred by the production of the time. It�s also a testament to Kate Bush as an artist, capable of acting out songs, written two decades earlier, delivering an arguably superior performance. While �The Sensual World� and �The Red Shoes� may not harbor the enchantment of her albums in the seventies or the innovation during the eighties, they do maintain a consistent quality of songwriting and composition, with enough of Kate Bush�s uniqueness to satisfy anyone in the pursuit for an amazing catalogue.