Moving/The Saxophone Song/Strange Phenomena/Kite/The Man With The Child In His Eyes/Wuthering Heights/James And The Cold Gun/Feel It/Oh To Be In Love/L'Amour Looks Something Like You/Them Heavy People/Room For The Life/The Kick Inside
Firstly, before progressing to discuss the album - regarding this latest remaster. Personally, I have never had a problem with the sound on this album. It has always been sharp as a tack in its treble passages (cymbals etc) and resonantly bassy and thumping in the drum and bass backing. This latest remaster makes those parts even more sharp and even more pulsating. Check out the first three tracks for evidence. I now have both masterings and am happy with both. I would say that the new one is certainly not essential, but that is from someone who was happy with the previous one, so maybe I am not the best person to give advice.
Anyway, obviously I want to assess the album as well, so here we go.
Anyway, enough of that schoolboy lust and on to the album. The lead-off track, Moving, is excellent, all perplexing lyrics, crystal clear backing, and some great drum and percussion work from ex-Cockney Rebel drummer Stuart Elliott, as indeed is the appealing, lively The Saxophone Song, featuring, unsurprisingly, some excellent saxophone. Both these tracks are utterly entrancing. There was clearly a special artist on our hands here. She was still only nineteen, remember.
The Man With The Child In His Eyes was a surprising choice for a single, being a beautiful, captivating, plaintive piano and strings-backed ballad, written by Kate aged sixteen. It was a success, though, and is a remarkably mature song dating from one so young.
James And The Cold Gun is the heaviest rock number on the album, with a big punchy beat and a slightly punky squeaky, jumpy vocal.
Them Heavy People was a single, and has a clunky reggae beat and another now typical Bush vocal. It has a catchy refrain and some odd lyrics about "Gurdjieff and a-Jesu...". As with most of her songs, the meaning is pretty oblique. I have always found it an irresistible track, though. Just something about it.
Room For The Life is an infectious, slowly rhythmic number with excellent percussion and bass and a swirling vocal. This really was very creative, almost ground-breaking stuff for a debut album. The title track, The Kick Inside, is another piano and strings ballad packed with more atmosphere.
Symphony In Blue/In Search Of Peter Pan/Wow/Don't Push Your Foot On The Heartbrake/Oh England My Lionheart/Full House/In The Warm Room/Kashka From Baghdad/Coffee Homeground/Hammer Horror
November 1978. What was around? All Mod Cons, Give 'Em Enough Rope, This Year's Model, Power In The Darkness - punky new wave glory dominating my listening, that was for sure, as it did for many of the cognoscenti. Kate Bush had not become their darling as yet, as she is now.
Consequently, this underrated second album from the precocious nineteen year-old Bush was not given much of a critical reception. At the time it was felt that there was much better stuff around. That was probably the case, but I feel this slipped under the radar somewhat. That said, it still produced a hit single, so there was a market for a mysterious ingenue's work.
Bush's ethereal, floating, soaring, swooping, waving, quavering voice is all over the album but it seems far more appealing today than it did back in 1978.
Symphony In Blue opens with a nice, gentle jazzy bass and piano rhythm before Kate's utterly distinctive voice kicks in and the song breaks out in to a mid-pace soft rock vibe. "The more I think about sex the better it gets" sings Kate, getting many young men hot under the collar at the time. It was always a frustration to me that such often sexually mature themes were delivered by Bush in her odd bleating voice. It always seemed somewhat incongruous.
The latest remaster has a lovely, subtle and warm bass timbre to it. This is continued on the beguiling In Search Of Peter Pan, another track that, after a low-key beginning has a delicious middle section. Some Wuthering Heights-style piano features heavily on this track and there is a very vague reggae underbeat on occasions.
The album's big hit single was Wow, with its big chorus that was tailor-made for Kate to windmill her arms theatrically around again as she had done on Wuthering Heights. It is a fine, captivating song. As too is the quirky Elton John-ish rock of Don't Push Your Foot On The Heartbrake. Kate gets quite lively, even defiantly punky at one point on the vocals.
Oh England My Lionheart is a haunting piano and strings plaintive number. Full House once more features that sumptuous bass and some infectious passages as Kate swooped and darted vocally up and down the scales. In The Warm Room is typical Bush fare - just her voice over a lone piano.
Similarly laid-back is the truly intoxicating Kashka From Baghdad before we get the odd, staccato and slightly grating Teutonic strains of Coffee Homeground. Kate sounds like Lene Lovich in 1930's Berlin on this innovative composition. Her voice and mannerisms were certainly more influential on the post punk and new wave milieu that was admitted at the time.
Hammer Horror was a minor hit but it was not really single material, being again hauntingly attractive. It reminds me a bit of Them Heavy People from the previous album. and is full of Gothic atmosphere.
"Proper" Kate Bush fans (unlike me) don't seem to rate this album, feeling her work improved a lot into the eighties but I have to say that I quite like it. It is a most enjoyable, unusual offering.
Babooshka/Delius/Blow Away/All We Ever Look For/Egypt/The Wedding List/Violin/The Infant Kiss/Night Scented Stock/Army Dreamers/Breathing
Nearly two years after her previous album, Kate Bush returned in September 1980 with this accomplished piece of work that saw her sounding more mature and slightly less quirky, but without losing her trademark innovative oddness. She was developing into a sort of female Peter Gabriel.
Music trends were moving from punk, via post punk, to new romantic and eventually electro-synth pop, so there was considerable scope for Bush to remain popular, carving her own unique niche in an era of burgeoning personal expression and creativity. She was ideally suited to being one of the inventive, clever personalities to be found within the indulgent, self-obsessed eighties - "Yeah, the eighties were rubbish, but there was Kate Bush and Peter Gabriel...".
This was an innovative, boundary-pushing and cerebral creation to be found as Kate moved on from being a weird voice and jerky piano merchant to something more intriguing and less of a novelty. It is, as was becoming the norm, a challenging listen, but that was certainly no surprise. Bush was at the vanguard of Bowie-esque early eighties creativity.
Babooshka was a musically changeable, vaguely waltz-like and chunkily catchy hit single with one hell of a catchy chorus.
Delius was a very Peter Gabriel-esque piece of subtly rhythmic weirdness enhanced by some odd demonic Mike Oldfield-style backing vocals and an infectious beat box rhythm.
Blow Away has some more of the delicious bass that served the previous album so well, backing a jumpy, dare I say quirky (again!) vocal. There was often something of Steve Harley in Bush's delivery. The song referenced several departed music figures and has Kate saying that she wants to stay here, not blow away.
There was often considerable Teutonic and East European influence to be found in Bush's music and All We Ever Look For is decidedly Russian in its sombre and heavy industrial slow beat and deep backing vocals. Another mystical classical atmosphere can be found on the ethereal Egypt. The drum part near the end is particularly captivating.
The Wedding List is an interesting track that is virtually impossible to categorise, so I won't, other than it both rocks and floats airily.
Kate always had the ability to surprise and she certainly does that on the frantic, squealing punk of Violin. It even references The Banshees as she rocks considerably harder than she had done thus far in her career. Quite a few people don't rate this one - personally, I find it insanely appealing.
The Infant Kiss sees a return to tinkling piano and haughty, up and down portentous vocals. Kate didn't ever write a song that failed to mystify and fascinate, did she?
Some vocal indulgence on the short Night Scented Stock merge into the perplexing single Army Dreamers, an acoustic-backed song that you wouldn't think would catch on, but it did, to an extent.
Breathing was also a single and again it was a decidedly avant-garde one. Its distinctive "out-in" vocal refrain was one of its selling points but it was still extremely uncommercial. These tracks - and indeed the whole album - were fascinating but, as I said, challenging. Therein lay their strength.
The Dreaming (1982)
Sat In Your Lap/There Goes A Tenner/Pull Out A Pin/Suspended In Gaffa/Leave It Open/The Dreaming/Night Of The Swallow/All The Love/Houdini/Get Out Of My House
1982 saw the deliciously abstract Kate Bush return with her fourth album, which was successful but blatantly uncommercial. It is quite dense, mystifying and pensive and, as was the norm with her work, it does not fully reveal itself to you until you have listened to it over and over. As with the previous albums, but even more so, listening to it is a difficult task and one that demands patience and fortitude. For many aficionados, it is her best work but it is not an album that should ever be recommended as an entry point to her music. If anything, it should be saved until you have "got her". I'm not sure I ever have got her, as it happens, but I have always been willing to dabble in this remarkable artist's unique work. This is definitely a difficult album to instantly like, though. It should be noted that Kate herself described it as "my going mad album".
It has become fashionable amongst many to claim that this is Kate Bush's best album. As is often the way, artists' most inaccessible, adventurous albums get declared a work of genius and achieve cult status. I understand why this album is popular, but give me the previous three albums any day. For me, Lionheart is much better, although I know I am in a minority with that opinion.
Sonically, it is also a difficult album to appreciate. Its sound is dense, murky and indistinct at times. Kate’s advice to listeners was to turn it up loud - well, you need to turn it up considerably louder than other albums, because its volume is set very low.
Sat In Your Lap is a vibrant, drum-powered number to open with - those old Lene Lovich-Siouxsie Sioux vocals appearing again. Actually, Kate probably influenced those artists far more than the other way around. As with so much of her material, it is a grower of a track that demands several listens. There is a bit of David Bowie from the same period in there too - I'm thinking of the Lodger album and African Night Flight in particular. It was actually a number 11 hit single, despite being hook-free and not at all instant.
Post punk jerkiness mixed with a sombre ambience was very much de rigeur for several artists at the time, and Kate Bush led the way, this being exemplified on the musically changeable and lyrically perplexing (to me, anyway) There Goes A Tenner. As with so many of Bush’s songs, it is totally impossible to analyse. Apparently, it is about a bank robbery, (I always thought an odd subject for the arty Kate) but her vocal delivery is so strange that it more often than not totally overshadows any meaning the song has (in comparison with a more traditionally-delivered narrative song). It certainly does here, thus leaving me somewhat perplexed. Others may find it all crystal clear, of course. There is a wry wittiness to it, however, that even I can detect.
The same applied to Blow Away from the previous album, for me. Its emotion was lost in its delivery.
The equally strange Pull Out A Pin is seductive in a slightly disturbed, heavily orchestrated off the wall fashion. I swore I would not use the word quirky in this review, but I cannot think of a better one. Kate was the quirkmistress, often as bizarre and Gothic as any contemporary Siouxsie clone.
Another beguilingly insane number is Suspended In Gaffa, which features Bush's vaguely demented vocals ranting over a waltz-like beat. It actually reminds me a lot of Yoko Ono's work, especially on the shrieking vocals.
Leave It Open is full of post punk Gothic ambience and its madness is intensified by all manner of distorted vocals and tape loops all over the place. Kate created most of this album's sounds herself. Similar sonic experimentation is found as Kate goes all Rolf Harris on Sun Arise on the bizarre didgeridoo-backed The Dreaming, even attempting an Australian accent. Apparently Harris himself played the didgeridoo on the recording. What inspired this utterly madcap piece of work is unclear. Amazingly, it was released as a single, but unsurprisingly it only reached number 44.
Her trademark plaintive piano balladry returns on the more recognisable (in relation to her previous work) Night Of The Swallow. Even this track, though, breaks out into innovative weirdness half way through. By the end, it has turned into an orchestrated shriek-fest.
All The Love has a great bass line together with some ethereal, ghostly, almost classical-choral vocals and it is a subtly evocative song. Again, though, it is very much a grower - one of the album’s diamonds in the rough.
Houdini has some sumptuous strings which merge beautifully with a deep, rubbery bass line on what is probably the album's most deceptively beautiful track.
This mightily strange album ends with the Public Image Ltd-esque Get Out Of My House. You get the impression by the end of this one that Kate was just throwing in whatever sound she came across. It is a veritable cacophony by the finish.
I have compared Bush to Peter Gabriel before and a lot of the material on here reminds me of some of his more inaccessible, oddball material. As for this album being a work of genius, my personal jury is out on that one.
Running Up That Hill (A Deal With God)/Hounds Of Love/The Big Sky/Mother Stands For Comfort/Cloudbusting/And Dream Of Sheep/Under Ice/Waking The Witch/Watching You Without Me/Jig Of Life/Hello Earth/The Morning Fog
After a break of three years, Kate Bush returned in 1985 with this, her most successful album, commercially. It was largely far more accessible than her dense, off the wall, experimental previous offering, The Dreaming.
The albums is divided into two suites - the first five tracks are The Hounds Of Love and the last seven are collated under the title The Ninth Wave. They are two very distinctive passages of music. The first half is far more poppy and the second much more abstract. God knows what the eighties pop fans who bought the album on the back of the singles made of the second half - one play of it I should imagine.
Anyway, on to the songs from what many consider to be Kate Bush's finest album. Her Sgt. Pepper. Her Imperial Bedroom.
Running Up That Hill (A Deal With God) was a catchy, drum-driven and very Peter Gabriel-esque song that became one of Bush's biggest hits. It was also used as the theme tune for a BBC children's TV drama called Running Scared, from 1986. Talking of Gabriel, I have often felt that this album was Bush's equivalent of Gabriel's So (which she appeared on, of course). After several inventive, oddball albums, both artists managed to combine their eccentricity with a pop sensibility to attract more than just cult followers.
Hounds Of Love is also very infectious, having another distinctive pounding drum rhythm, insistent string orchestration and a much deeper, more resonant vocal than usual. It was a fine piece of mid-eighties pop-rock, dominated by keyboards, drums and haughty vocals. It is, for me, one of her most appealing numbers.
The Big Sky is also an extremely attractive and attention-grabbing number, once again powered by a huge drum sound and some soaring vocals. Grab yourself a bit of the guitar solo, mid-track.
After a lively, upbeat first three tracks, which was as poppy a run of songs that Bush had released, we return, on Mother Stands For Comfort, to a more recognisable breathy, ethereal slow sound, backed by that lovely rubbery bass sound that Bush used so well and this is continued, albeit in a bit more punchier style, on Cloudbusting. This is a pleasingly orchestrated, winsome song that reminds me of Deacon Blue in many ways, particularly in those marching-style insistent strings.
The natural dividing point of the old 'side one' and 'side two' is lost on CD or digital versions of the album. The second side begins with the evocative, plaintive piano and vocal strains of And Dream Of Sheep. Some crystal clear acoustic guitar arrives later to enhance what is a thoroughly lovely track. Under Ice also features some deep, slightly sombre orchestration and Kate delivers a strong but seductive vocal.
This second side is a bit of an Abbey Road thing. The largely experimental tracks sort of flow into each other and it plays as a whole more than the first suite did, which is more obviously five different, separate songs.
Waking The Witch harks back to the sonic experimentation of the previous album and, although it features some interesting musical bits - the guitar and the odd keyboard sounds - it is largely a bit of a discordant irritation. My least favourite Kate Bush material is when she dabbles in prog rock, as she does here. It sounds as if Mike Oldfield has wandered into the studio.
The sensual Watching You Without Me has a beguiling, bassy rhythm and a haunting vocal while Jig Of Life is a highly unusual piece of proggy folk, featuring some madcap violin and a decidedly odd vocal.
Hello Earth is hauntingly sombre, with backing vocal that sounds like monks. Indeed it was lifted from Gregorian chant.
This side, which asks a great deal of its listeners, finishes with the pleasant, rhythmic and sensual The Morning Fog. To be honest, I am one of those who has been asked a lot of, and I am still not sure that the second side really does it for me. I am not convinced it is a complete thing of genius but I understand why those claims are made. It is certainly one of music's most inventive and unusual creations. You can listen to it endlessly and still find more - maybe it is there that its genius lies. Or maybe it is just indulgent guff. You decide. Most seem to opt for the former.
The Sensual World/Love And Anger/The Fog/Reaching Out/Heads We're Dancing/Deeper Understanding/Between A Man And A Woman/Never Be Mine/Rocket's Tail/This Woman's Work
Four years since her successful Hounds Of Love, Kate Bush returned with her most romantically appealing album. As was now the case with Bush's work, it fitted in with no genre or "scene". It stood alone as yet another intriguing piece of work from an artist who never failed to create something different.
It is album of maturity, peace of mind, confidence and contentment which also means that it lacks a little in the excitement department but no matter, sometimes a relaxing, gentle album is a good thing. It certainly is here. Take it for what is is, play it on a dark, winter's evening or indeed a misty, rainy morning in the same season.
The Sensual World is a song that matches up to its title, with Kate delivering a breathy vocal over a gentle, warm rhythm and some swirling Celtic Uillean pipes that give the song a real atmosphere. Kate worries about losing a picked flower between her breasts and asks her lover to rescue it. Oh Lordy I need a lie-down.
Love And Anger is more robust, with an insistent, rolling drum backing, a deep rubbery bass and another of those Peter Gabriel feelings about it. Kate old mentor, Pink Floyd's David Gilmour, contributes some searing guitar and the backing vocals are again very world music inspired, which was very much de rigeur for the period. The vocals are from The Trio Bulgarka, three Bulgarian female singers.
The Fog is a mysterious, understated and sensuous number, with a beguiling string sound merging with wave noises and seagulls to add to the enticingly dreamy atmosphere. Check out that gorgeous mid-song violin.
Reaching Out is more attacking, so to speak, with big production, drum-driven choruses between its lower-key verses as Kate's voice soars. I do have a problem with the muffled sound on much of this album, though, particularly on this song. You have to turn it up really loud.
The sound quality improves considerably on the staccato rhythms of Heads We're Dancing, which has a sort of new wave meets white reggae and late eighties synth-drum rock feel to it. As with most of Bush's songs, it is virtually impossible to pigeonhole or categorise. I know I am repeating myself here, but it has to be said on each album that is discussed. Anyway, it is one of the album's most enjoyable songs.
Deeper Understanding is another ethereal-sounding number, all floaty strings, gentle syncopation and semi-whispered vocals. Between A Man And Woman also has the sort of sound that washes over you, its wailing backing vocals, subtle guitars and overall denseness combining to produce this effect, artists such as Madonna would be greatly influenced by this in later years. It sort of reminds me of her Bedtime Stories and Ray Of Light albums.
Never Be Mine has a lovely bass sound and some nice piano and subtle flute. The pipes are back again too. The track is quietly seductive. Kate and the Bulgarian lasses all get together for a Steeleye Span-esque vocal introduction to Rocket's Tail before the song bursts out into some grandiose rock power, featuring a great guitar solo, more great bass and some madcap vocals from all involved. It is a hark back to Kate's quirkier late seventies and early eighties material.
The original album ended with the beautiful piano-driven strains of the plaintive This Woman's Work. It is not the album's most instant track (indeed are any of them?) but it is the most serious, heartfelt and meaningful.
** A Bonus track on some releases is Walk Straight Down The Middle, which also brings with it echoes of earlier work. It has an attractive fascination to it, as indeed did the whole album. As with all of Bush's albums, it requires several listens. There's a surprise.
Rubberband Girl/And So Is Love/Eat The Music/Moments Of Pleasure/The Song Of Solomon/Lily/The Red Shoes/Top Of The City/Constellation Of The Heart/Big Stripey Lie/Why Should I Love You?/You're The One
This 1993 album from Kate Bush is one that many do not rate as highly as some of her other work, but, as is often the case, I really like it. It has a lovely, warm sound quality, is full of atmosphere and contains a variety of different-sounding songs. For me, it is one of her best albums. When did I ever go along with perceived second-hand opinions? Some have had a problem with the guest appearances (Santana-Supernatural fashion) on the album, but again, do I care? No - they enhance it. The album is a pleasure from beginning to end.
Rubberband Girl is as thumping and rocking as Bush had possibly ever been, at times its organ-driven parts make it sound a lot like Elvis Costello & The Attractions. It is a most enjoyable, lively opener to the album, its punchiness not letting up from the first note. It made a fine single.
And So Is Love is a delicious, slow burner of a track, featuring some great subtle Mark Knopfler-esque guitar bits and a moving, low-key vocal. I really like the whole ambience of the song. It has a mature, late-night, relaxing feel to it and I love the warm drum sound too from one-time Cockney Rebel drummer Stuart Elliott. Oh, I forgot to say, that guitar is none other than Eric Clapton and the organ is supplied by Procol Harum's Gary Brooker.
Eat The Music has a catchy, Caribbean-South African sounding rhythm to it and is an unusually upbeat song for Kate, full of summery joie de vivre. Once more, it is a number that I really like. It has a Paul Simon world music-Graceland vibe to it, complete with African-sounding backing vocals.
Moments Of Pleasure is a more recognisable, typically Kate Bush piano, strings and vocal number. It stands somewhat starkly against the warmth of the previous three tracks. It is a sad song, however, with Kate remembering several people, friends and family, who had recently died. The Song Of Solomon is also a stark number, melodically, with a sensual but high-pitched vocal delivered over a sumptuous and intoxicating slow rhythm. "I don't want your bullshit, just want you sexuality" sings Kate, assertively. OK Kate, no problem.
Lily is a grinding, buzzy and infectious number that harks back the the Hounds Of Love era. The Red Shoes has a vocal that carries echoes of those late seventies/earl eighties albums and has an energetic, folk-influenced beat that makes it another irresistible offering. At the risk of sounding boring, I will say again that I really like the material on this album. It has an energy and appealing vibrancy to it.
Top Of The City is a solid, ethereal but muscular slow number with some subtle, quiet passages too.
Constellation Of The Heart is another very different song, with an almost disco-soul vibe to it, backed by some funky guitar and synthesiser breaks. Apparently, this commercial approach did not gain favour with many fans, but I don't give a monkey's about their need for quirkiness. Again, it sounds great to me.
Big Stripey Lie should satisfy those who like a bit of staccato fuzziness, however. It is Kate herself supplying both the grungy guitar and the bass on this one, to great effect. Nigel Kennedy is on violin too. The enjoyable Why Should I Love You? features Prince on keyboards, all guitars and vocals and Lenny Henry joins in with vocals too. To be honest, I can't detect either of them, vocally, although Prince's funky guitar break comes over loud and clear.
The final track on this immensely gratifying album is the beguiling, romantic You're The One, which features Jeff Beck on a nicely understated guitar. There is some lovely organ on here too before the song ends in Prince-like style with Kate even sounding like him, vocally.
Kate would not return for twelve years after this, beginning her so-called "recluse" phase, which actually coincided with raising her son, Bertie.
King Of The Mountain/Pi/Bertie/Mrs. Bartolozzi/How To Be Invisible/Joanni/A Coral Room/Prelude/Prologue/An Architect's Dream/The Painter's Link/Sunset/Aerial Tal/Somewhere In Between/Nocturn/Aerial
This was Kate Bush's first album for twelve years, since 1993's The Red Shoes. It was an adventurous double album that divides clearly into two parts - A Sea Of Honey and A Sky Of Honey - and dated from 2005. By then, her late seventies/eighties success seemed a long time away and she had achieved the status of 'respected elder stateswoman', someone for who it was fashionable for the current generation to say they liked.
Despite possible accusations of sprawling pretentiousness, it is actually a very good album - mature, cohesive, well played and produced and, if anything, as accessible and appealing as anything she had done previously. I am particularly impressed by the first section of the album. I shall deal with that part of it separately to the second part. You could almost listen to it as a short one-off album in its own right and I sometimes do.
King Of The Mountain is an infectious and atmospheric opener, backed by Talking Heads-style 'world music'-ish slow, intoxicating rhythms and an eventual powerful but slow-paced drum sound. Some fine guitar interjections arrive too and Bush's voice is older now, and considerably deeper and adult-sounding. Bleating no more. This is as seductive and solidly rocking in a slow but industrial-sounding way that she had ever been.
Pi continues with some fine bassy programmed backing and almost Won't Get Fooled Again-style organ riffage. Kate sings seductively about her fascination with the number Pi, even reciting the calculus. She always could come up with a totally bizarre lyric. couldn't she? Mathematicians everywhere must have gone all unnecessary upon hearing this. Never mind the maths, just treat yourself to that lovely rubbery bass line as the song progresses.
Bertie is a tender, gentle, acoustic song written to her son, with some attractive, almost Elizabethan folky middle and end passages. Mrs. Bartolozzi, however softly melodic its piano and vocal delivery may be, is a lyrically odd song concerning a woman watching her clothes entwine with those of a lover (or maybe her husband) as they spin in her washing machine. An interesting erotic concept, sure, but when Kate starts singing 'washing machine, washing machine' near the end it just sounds ludicrous to me. In fact the whole song is silly. I seem to be in a minority here, though, because most opinions I have read praise it to the heavens as as a work of inspirational, sensual genius. Oh well. It sounds nice anyway.
The tempo and robustness ups for the next track, the excellent How To Be Invisible, which almost sounds like The Doors in places. It is an excellent track, one of my favourites of hers. There is a slight feel of swampy blues at times too with touches of Patti Smith on the vocals and U2 in the guitar sound. A further U2 influence can be found on the insistent drum sound of the equally admirable Joanni. The sound and the overall punch is most appealing on these two tracks. It is as confident as Bush has possible ever sounded and these are two of the tracks I admire the most of hers.
This first part of the album ends with the piano-driven plaintive and haunting strains of A Coral Room. It probably runs a minute or so longer than it should, though.
So that was the first half of the album. As I said, it could stand on its own as a pretty good offering.
Now for the second half. It follows the concept of a single day in the summer.
The short Prelude has the recognisable sound of doves cooing eventually taking on the track's melody, which is quite clever. Prologue is a quiet piano and subtle backing number anticipating a beautiful day ahead which is enhanced by some attractive drums near the end.
An Architect's Dream has a nice percussion sound similar to that used on December Will Be Magic Again and features some typically seductive vocals from Kate.
The brief The Painter's Link merges seamlessly into the beautifully jazzy and laid-back Sunset, which features a simply sumptuous bass line and seriously subtle percussion. It ends with some deliciously lively and melodic Spanish guitar and handclapping that was highly unexpected but none the less enjoyable.
Aerial Tal is a short birdsong interlude that leads into the slow, captivating sound of Somewhere In Between which is once again enhanced by an absolutely beautiful bass and cymbals interplay. It is quite lovely. There is a huge difference between the material on this album and the experimental stuff on Never For Ever or The Dreaming. Yes this stuff is innovative and unusual but it is restrained and beautiful as opposed to being wilfully bizarre. There is certainly nothing discordant on here at all.
Nocturn is a supremely chilled-out number, with a nice deep bass and an ethereal overall ambience which suits the vibe of 2005 perfectly, as too does the surprisingly dance beat-backed thump of Aerial. These final two tracks are both excellent, subtly utilising some contemporary sounds.
There is a strong case for saying that this is Kate Bush's most accomplished and satisfying album. It is a case I can strongly support myself.
50 Words For Snow (2011)
Snowflake/Lake Tahoe/Misty/Wild Man/Snowed In At Wheeler Street/50 Words For Snow/Among Angels
This is an album that takes several listens to get into, as indeed, do all of Kate Bush's albums, but this one more than any of them. As its title would suggest, it is a wintry album. Its very soundscape carries with it a bitter, grey-skied chill that makes this most definitely not an album to play in summer. I am playing it on a cold January morning, however, so it is perfect. I read someone describe it as "winter matins" and the are dead right. It has a ghostly, frozen feel to it, both in its bleak, piano-driven backing, its sombre vocal delivery and the length of most of its songs, which somehow seem to represent a snow that will never melt.
The first three songs are very long and incredibly bleak but they contain a quiet sensitivity that gets into your system over time.
The opener is Snowflake, which has the afore-mentioned bleak piano and vocal and Kate occasionally adding to her vocals by speaking in what sounds like a strange old lady's croaky voice. Maybe that is just what her spoken voice sounds like in later years? The whole effect is very wintry, even vaguely christmassy.
Lake Tahoe is more of the same, but it contains the album's first tiny bits of percussion but overall it is equally as sombre but evocative as its predecessor. These two have given us one of the most low-key openings to an album ever. I should imagine that was Kate's intention.
The thirteen minute plus of Misty serves up lots of gently shuffling percussion-piano jazzy Abdullah Ibrahim-style vibes to give us a bit of a change but there are also lots of plaintive vocal-piano-strings parts. The piano gently sways to and fro, quietly and seductively pulling you in, making you want to cuddle up with Kate under some furs in an ice hotel bed.
Wild Man is the first track with bass and drums and more breadth to the sound. Despite that, it is still slow and reflective, however, and it doesn't affect the album's cold ambience. A strange thing, for me, is that the "you're not an animal" line strangely brings to mind The Sex Pistols' Bodies. Overlooking that, it is a most captivating song.
Snowed In At Wheeler Street has the singer in character, getting nostalgic for first the Second World War years of the nineteen-forties and then for 9-11 in 2001, narrating through the eyes of a couple who have "been in love forever". Kate shares the vocal with a male voice that sounds a lot like Elton John, and, of course, is no other than old Reg himself. It is a most entrancing, intriguing duet. I like it more with each hearing. It brings to mind the film The Book Thief for some reason.
50 Words For Snow is a softly shuffling duet with Kate counting down the Inuit words for snow as Stephen Fry narrates them. It is an odd but intriguing song with a subtle, infectious rhythm and quietly catchy refrain. "Come on now, there's twenty-two to go - let me hear your fifty words for snow..." is repeated, effectively. Its narrative style reminds me a lot of Van Morrison's In The Days Before Rock 'n' Roll.
Among Angels returns to the sombre chill of slow piano and vocal of the first three tracks, leaving us as cold as were were at the beginning. One can't help but think about ice, chills, bleakness, frost, snow, winter and ghosts when one listens to this. In that respect the album does its job perfectly and in many other ways too. It is a very satisfying but totally uncommercial piece of work. Like a work of cool but expressive modern art.