the sensual world

Kate Bush found a deeper understanding in the lush emotional odyssey of this woman's work.  The singer songwriter had become a sensation as a teenager with her very first album 'The Kick Inside' and had continued to grow with each new album.  The commercial disappointment of her experimental self-produced 'The Dreaming' had given way to her greatest success with 'The Hounds of Love'.  Bush spent three years working on the follow-up 'The Sensual World'. 

Bush would reveal:    "I think it's to do with me coming to terms with myself on different levels. In some ways, like on Hounds of Love, it was important for me to get across the sense of power in the songs that I'd associated with male energy and music. But I didn't feel that this time and I was very much wanting to express myself as a woman in my music rather than as a woman wanting to sound as powerful as a man...I think it's a very important time from 28 to 32-ish, where there's some kind of turning point. Someone said in your teens you get the physical puberty and between 28 and 32 mental puberty. Let's fact it, you've got to start growing up when you're 30, it does make you feel differently, I feel very positive having gone through the last couple of years...On this album there's more of me in there in a more honest way than before and yet, although some of it is me, the songs aren't about me. It's this kind of vague mish-mash of other people and yourself, bits of films, things you've heard, all put together in a mood that says a lot about me at this time...A lot of people will think these songs are about me. I've always had that and like, with 'Deeper Understanding', people react immediately saying, 'Is this autobiographical? So you're into computers now? So you spend all night on computers?' People immediately switch on to the mechanicalness. It's a song about computes so she must be into computers!...I found the writing very difficult on this.  I don't know what I wanted to say or how to treat the songs, make them sound differently, to get outside musicians in to do something or just go away and think. A lot of it is jig-sawing. I'd get to the point where I couldn't write, where I was sick of the songs. And yet you thought they were okay to begin with. The problem is holding onto that energy level...Love is a wonderful powerful thing.  In many ways nearly every song I've ever written is a love song. It's very important to try and learn to love people as much as you can. But we all get so scared. It's only when people are at points in their lives when they get such shocks that they take it as it really should be. The rest of us just seem to piss about...The communication of music is very much like making love."

'The Sensual World' features Kate Bush on piano, keyboards, vocals, and background vocals;   Paddy Bush on mandolin, background vocals, valiha, whip, and tupan;  Clare Connors on violin;  Stuart Elliott and Charlie Morgan on drums;  John Giblin and Mick Karn on bass guitar;  David Gilmour and Alan Murphy on guitar;  Michael Kamen on arrangements and orchestration;   Nigel Kennedy on violin and viola;  Dónal Lunny on bouzouki;  Michael Nyman on string arrangements;  Del Palmer on bass guitar, percussion, rhythm guitar, engineer, Fairlight CMI, and mixing;  Justin Pearson and Jonathan Williams on cello;  Dimiter Penev and Bill Whelan on arrangements;  John Sheahan on fiddle;  Davy Spillane on pipe, whistle (human), whistle (instrument), and uilleann pipes;  Alan Stivell on background vocals and Celtic harp;  Eberhard Weber on solid-body electric double bass;   and the Trio Bulgarka (Stoyanka Boneva, Eva Georgieva, and Yanka Rupkina) on vocals.     Bush produced the sessions with engineers Haydn Bendall, Andrew Boland, Paul Gomazel, and Kevin Killen (who also did the mixing); cutting engineer Ian Cooper;  and assistant engineers John Grimes and Tom Leader.  

'The Sensual World' reached forty-three in the US, thirty-eight in France, thirty in Australia, twenty-seven in New Zealand, eighteen in Japan, seventeen in Canada and Sweden, sixteen in the Netherlands, ten in Germany, seven in Norway, and number two in the UK.  








http://www.katebush.com/










"The Sensual World" made it to number twelve in the UK and six in Ireland.  Bush says:   "Definitely 'The Sensual World', the track, was very much a female track for me. I felt it was a really new expression, feeling good about being a woman musically...It's about contact with humans, it could all come down to the sensual level. Touch? Yes, even if it's not physical touch, reaching out and touching people by moving them. I think it's a very striking part of this planet, the fact there is so much for us to enjoy. The whole of nature is really designed for everything to have a good time doing what they should be doing...Fancy being a bee, leading an incredible existence, all these flowers designed just for you, flying into the runway, incredible colours, some trip...Because I couldn't get permission to use a piece of Joyce it gradually turned into the songs about Molly Bloom the character stepping out of the book, into the real world and the impressions of sensuality. Rather than being in this two dimensional world, she's free, let loose to touch things, feel the ground under her feet, the sunsets, just how incredibly sensual a world it is...I originally heard the piece read by Siobhan McKenna years ago and I thought 'My God! This is extraordinary, what a piece of writing!' it's a very unusual train of thought, very attractive. First I got the "mmh yes" and that made me think of Molly Bloom's speech, and we had this piece of music in the studio already so it came together really quickly. Then, because I couldn't get permission to use Joyce, it took another year changing it to what it is now. Typical innit!"

"mmh...yes"

https://www.youtube.com/watch?v=h1DDndY0FLI






"Love And Anger" reached twenty-five in the UK and twenty in Ireland. 
https://www.youtube.com/watch?v=xyEHKGDSg5I
https://www.youtube.com/watch?v=jUDy-zU7P0Y






"This Woman's Work" went to number thirty-eight in the UK. 
https://www.youtube.com/watch?v=7TupvVpxY_U





'The Sensual World' 
full album:



All songs written and composed by Kate Bush. 

Side one
00:00 "The Sensual World"   3:57
03:56 "Love and Anger"   4:42
08:34 "The Fog"   5:04
13:41 "Reaching Out"   3:11
16:54 "Heads We're Dancing"   5:17
Side two
22:11 "Deeper Understanding"   4:46
26:55 "Between a Man and a Woman"   3:29
30:24 "Never Be Mine"   3:43
34:06 "Rocket's Tail"   4:06
38:13 "This Woman's Work"   3:32
bonus track
41:47 "Walk Straight Down the Middle" 3:48



b sides

 "Be Kind To My Mistakes"
https://www.youtube.com/watch?v=prIvo8vx-0g



"Ken"
https://www.youtube.com/watch?v=c1legm79WhU

the kick inside

A teenage Kate Bush spent three years putting together the piano driven poetry of this fulgent flower of feminine force.  She started composing when she was a schoolgirl and her family helped her make a demo tape with over fifty songs.  The tape found its way to David Gilmore who produced a professional demo of three songs that led to a record deal with EMI.  The label put her on retainer for two years while she continued school, took interpretive dance classes, played gigs with the KT Bush Band, and recorded demos for over two hundred songs.  When it came time to record 'The Kick Inside', studio musicians were brought in for the sessions, including several members of the Alan Parsons Project including producer Andrew Powell.  The recordings featured Kate Bush on piano, keyboards, vocals, and background vocals; Ian Bairnson on guitar, vocals, background vocals, and bottle; Paul Keogh and Alan Parker on guitar; Paddy Bush on harmonica, mandolin, and vocals; Duncan Mackay on organ, synthesizer, keyboards, electric piano, and clavinet; Andrew Powell on synthesizer, keyboards, and electric piano; Alan Skidmore on saxophone; David Paton on bass and background vocals; Bruce Lynch on bass; Barry DeSouza and Stuart Elliott on drums; Morris Pert on percussion; and David Katz on violin.  

Bush would reveal:    "The album is something that has not just suddenly happened. It's been years of work because since I was a kid, I've always been writing songs and it was really just collecting together all the best songs that I had and putting them on the album, really years of preparation and inspiration that got it together. As a girl, really, I've always been into words as a form of communication. And even at school I was really into poetry and English and it just seemed to turn into music with the lyrics, that you can make poetry go with music so well. That it can actually become something more than just words; it can become something special... another interesting thing about this album is that two of the tracks, ' The Man With The Child In His Eyes' and 'Saxophone Song' were recorded about three years ago. This was in fact my initial plunge into the business, as they say, with the help of Dave Gilmour from Pink Floyd. I managed to get through to him through a contact of my brothers' and at that time he was looking around for unknown talent. He came along and heard me and we put some things down and he put up the money for me to make my first demo in a proper recording studio with arrangements. I owe to him the fact that I got my contract and that I'm where I am now. Two of these original tracks that we had on the demo are on the album, so maybe that helps with the variation...There are thirteen tracks on this album. When we were getting it together, one of the most important things that was on all our mind was, that because there were so many, we wanted to try and get as much variation as we could. To a certain extent, the actual songs allowed this because of the tempo changes, but there were certain songs that had to have a funky rhythm and there were others that had to be very subtle. I was very greatly helped by my producer and arranger Andrew Powell, who really is quite incredible at tuning in to my songs. We made sure that there was one of the tracks, just me and the piano, to, again, give the variation. We've got a rock 'n' roll number in there, which again was important. And all the others there are just really the moods of the songs set with instruments, which for me is the most important thing, because you can so often get a beautiful song, but the arrangements can completely spoil it - they have to really work together...On the whole I was surprised at the amount of control I actually had with the album production. Though I didn't choose the musicians. I thought they were terrific.  I was lucky to be able to express myself as much as I did, especially with this being a debut album. Andrew was really into working together, rather than pushing everyone around. I basically chose which tracks went on, put harmonies where I wanted them...I was there throughout the entire mix."

'The Kick Inside' found its way to number thirty-seven in Japan; twenty-one in Germany; eight in Sweden; five in Denmark; four in Norway; three in Australia, France, and the UK; two in Belgium and New Zealand; and number one in the Netherlands.  She was nineteen when the album was released.  




'The Kick Inside'
full album:



1. "Moving"   3:01 
2. "The Saxophone Song"   3:51 
3. "Strange Phenomena"   2:57 
4. "Kite"   2:56 
5. "The Man with the Child in His Eyes"   2:39 
6. "Wuthering Heights"   4:28  
7. "James and the Cold Gun"   3:34 
8. "Feel It"   3:02 
9. "Oh to Be in Love"   3:18 
10. "L'Amour Looks Something like You"   2:27 
11. "Them Heavy People"   3:04 
12. "Room for the Life"   4:03 
13. "The Kick Inside"   3:30







"Wuthering Heights" took the world by storm, going to seventeen in Austria; eleven in Germany; eight in Switzerland; seven in Norway; six in Sweden; four in Denmark and Finland; three in the Netherlands; and number one in Australia, Belgium, Ireland, Italy, New Zealand, and the UK, where it made her the first female singer-songwriter to reach the top of the charts with her own composition.  In the US, the song stalled at number one hundred and eight (number eight on the bubbling under hot 100 list).  The song was inspired by the classic novel by Emily Brontë.  Bush confessed:    "I didn't read it until just before I wrote the song. I'd seen the television series years ago. I just caught the last few minutes where she was at the window trying to get in. It's one of those classic stories that you vaguely know. I knew there was Heathcliff and Cathy and that she died and came back. It just fascinated me. What an incredible situation that people should want something so much that even when they die they won't let go. It is a greed of some kind...or a greedy-need, that's the word.  It was just fascinating me so much, it kept coming into my brain. I thought the only way to get rid of it and stop it bothering me was to write it down. So I read the book and it amazed me. It was such a beautiful story. I made sure that I had read it as I was doing it as a tribute to Emily Brontë and anytime you do a something with somebody else's work, you should take care with it because you might well be abusing their expressions. But I found the book more than I had hoped for because for a girl so young it was beautiful that she had the strength to do it.  Quite an interesting coincidence between Emily and myself, that I didn't find out until much later, is that we have the same birthday, 30 July. I thought it was a nice tie-in." 

http://www.youtube.com/watch?v=BW3gKKiTvjs


Out On the wiley, windy moors 
We'd roll and fall in green 
You had a temper, like my jealousy 
Too hot, too greedy 
How could you leave me 
When I needed to possess you? 
I hated you, I loved you too 
Bad dreams in the night 
They told me I was going to lose the fight 
Leave behind my wuthering, wuthering 
Wuthering Heights 
Heathcliff, it's me, Cathy, I've come home 
I'm so cold, let me in in-a-your-window 
Heathcliff, it's me, Cathy, I've come home 
I'm so cold, let me in in-a-your-window 
Oh it gets dark, it gets lonely 
On the other side from you 
I pine alot, I find the lot 
Falls through without you 
I'm coming back love, cruel Heathcliff 
My one dream, my only master 
Too long I roam in the night 
I'm coming back to his side to put it right 
I'm coming home to wuthering, wuthering 
Wuthering Heights 
Heathcliff, it's me, Cathy, I've come home 
I'm so cold, let me in in-a-your-window 
Heathcliff, it's me, Cathy, I've come home 
I'm so cold, let me in in-a-your-window 
Ooh let me have it, let me grab your soul away 
Ooh let me have it, let me grab your soul away 
You know it's me, Cathy 
Heathcliff, it's me, Cathy come home 
I'm so cold, let me in in-a-your-window 
Heathcliff, it's me, Cathy come home 
I'm so cold, let me in in-a-your-window 
Heathcliff, it's me, Cathy come home 
I'm so cold

http://www.youtube.com/watch?v=-1pMMIe4hb4






"The Man with the Child in His Eyes" made it to number eighty-five in the US, thirty-six in New Zealand, twenty-three in the Netherlands, twenty-two in Australia, six in the UK, and three in Ireland.  Bush considers:    "The inspiration for 'The Man With the Child in His Eyes' was really just a particular thing that happened when I went to the piano. The piano just started speaking to me. It was a theory that I had had for a while that I just observed in most of the men that I know: the fact that they just are little boys inside and how wonderful it is that they manage to retain this magic.  I, myself, am attracted to older men, I guess, but I think that's the same with every female. I think it's a very natural, basic instinct that you look continually for your father for the rest of your life, as do men continually look for their mother in the women that they meet. I don't think we're all aware of it, but I think it is basically true. You look for that security that the opposite sex in your parenthood gave you as a child."

http://vimeo.com/30249077
http://www.youtube.com/watch?v=9F5XHZ0NPGc




'The Kick Inside'

I've pulled down my lace and the chintz. 
Oh, do you know you have the face of a genius? 
I'll send your love to Zeus. 
Oh, by the time you read this, 
I'll be well in touch. 
I'm giving it all in a moment or two. 
I'm giving it all in a moment, for you. 
I'm giving it all, giving it, giving it. 
This kicking here inside 
Makes me leave you behind. 
No more under the quilt 
To keep you warm. 
Your sister I was born. 
You must lose me like an arrow, 
Shot into the killer storm. 
You and me on the bobbing knee. 
Didn't we cry at that old mythology he'd read! 
I will come home again, but not until 
The sun and the moon meet on yon hill. 
I'm giving it all in a moment or two. 
I'm giving it all in a moment, for you. 
I'm giving it all, giving it, giving it. 
This kicking here inside 
Makes me leave you behind. 
No more under the quilt 
To keep you warm. 
Your sister I was born. 
You must lose me like an arrow, 
Shot into the killer storm.

http://www.youtube.com/watch?v=-76x06vfCtk

the dreaming

Kate Bush took the helm for the first time and made a dramatic leap forward with the wild experimentation of this sophisticated and romantic art rock reverie. 'The Dreaming' was the first of her albums that she produced herself. Bush admits: "But it is quite...dark, I suppose, without meaning to be negative. I think it is saying...nearly all those songs are saying that people are great, but they really hurt each other, and you know, look at the things we do to each other. Why do we do this...you know, questioning. I think albums are like that, they're...they are little diaries. You know, you sort of sit there and write--not autobiographical things--but what you feel at the time, things that move you. I think it does say a lot about you at the time...I think the main difference was connected to my involvement. The more I get involved in the production, then the more I'm going to get exactly what I can out of it. Therefore, it automatically becomes a more demanding and personal project...I didn't have my own Fairlight and we had to hire one in. And really as soon as I met the Fairlight, I realized that it was something I really couldn't do without because it was just so integral to what I wanted to do with my music. I think I've always enjoyed synthesizers...I found them very interesting, but I never really enjoyed all the sounds. And what really gets me about the Fairlight is that any sound becomes musical. You can actually control any sound you want by sampling it in, and then being able to play it. I mean obviously, it doesn't always sound great, but the amount of potential exploration you have there with sounds is never-ending, and it's fabulous...Up until now, I've always written on the piano. It's been a very important part of it. The songs came from the piano and the chords. But with this album, the majority of the songs have come from the Fairlight and working with drum machines and things like that."

The album credits include a small army: Stewart Arnold on vocals and background vocals; Jimmy Bain on bass; Ian Bairnson on acoustic guitar, vocals, and background vocals; John Barrett as assistant engineer; Brian Bath on electric guitar; Haydn Bendall as engineer; Kate Bush on piano, strings, arrangements, keyboards, vocals, production, and fairlight; Paddy Bush on harmonica, mandolin, strings, stick, vocals, background vocals, and bullroarer; George Chambers as assistant engineer; Nick Cook as assistant engineer; Ian Cooper as cutting engineer; Danny Dawson as assistant engineer; Geoffrey Downes on trumpet and trumpet arrangements; Percy Edwards on sound effects and vocals; Stuart Elliott on percussion, drums, and stick; Gordon Farrell on vocals; David Gilmour on vocals and background vocals; Howard Gray as assistant engineer; Paul Hardiman on vocals, engineering, and mixing; Rolf Harris on didjeridu; Preston Heyman on drums and stick; Gary Hurst on vocals and background vocals; Seán Keane on violin; Nick Launay as engineer; Dave Lawson on synthesizer, synclavier, and string arrangements; Dónal Lunny on bouzouki and bouz; Alan Murphy on electric guitar; Liam O'Flynn on pipe, penny whistle, and uilleann pipes; Hugh Padgham as engineer; Del Palmer on bass, vocals, and fretless bass; Teri Reed as assistant engineer; Esmail Sheikh on drums; David Taylor as assistant engineer and mixing assistant; Danny Thompson on bass; Richard Thornton on vocals, choir, and chorus; Eberhard Weber on bass; Bill Whelan on horn arrangements and string arrangements; and Pete Wooliscroft on digital editing.

The recording process took over a year. Bush reflected at the time: “Yes. You see, from my point of view, although I’ve been out of the limelight, from the last album all I was planning to do was make another album as quickly as I could. But as soon as I wrote the songs I realized that it was very different, and all the time I do very much want to change my art, and I do actually think that the direction I’m going in is away from the commercial, well the obvious commercial. But I think from my point of view it wasn’t so much because I was out of the limelight that I had to do something more commercial, because at that time I wasn’t actually out of the limelight, I was just starting my next album, and I thought it was only going to take me a couple of months, but before I know it the whole thing has become much more involved, the songs are much more involved, and I know that it’s going to take me at least six months to a year to get it the way I want. So by the time it’s finished, I’ve been out of the public’s eye for maybe…apart from 'Sat In Your Lap', of course.”

'The Dreaming' charted at one hundred and fifty-seven in the US, forty-five in Sweden, thirty-six in Japan, twenty-three in Germany, twenty-two in Australia, twelve in Norway, eight in France, five in the Netherlands, and number three in the UK.












http://www.katebush.com/

The song 'The Dreaming' was originally titled "The Abo Song"; but was changed when it was discovered that it was a racial slur in Australia. Bush says: "It's very much based on aboriginal music that I'd been able to hear. And it does have quite a specific rhythm--that sort of slow, spacey thing. It's got so much space in it. And that was very much one of the things we wanted to get across, this... much like landscapes of huge deserted flatlands. That's what the music seems to say. It talks about, you know, where they --the aborigines--went; their environment. That was actually an idea I'd had since the third album. I knew I wanted to write a song that was about abuses-the aborigines, the Indians, these tribes whose counties had been taken away from them by so-called civilized man. I wanted it to be based around the aboriginal style of music. Their music says so much to me about space, earth, and living on the land. So the whole thing is based around the didgeridoo. I have a rough sample in my Fairlight, and I sort of worked out ideas from that. Then we got people in and pieced all the other sounds together. It was quite a visual song, because you could see so many things that suggested to you where to place sounds...I think it would be insulting to the instrument to suggest that the Fairlight could do it better--I don't know if you realize the sort of circular breathing technique that's involved in playing it. The didgeridoo is one of those incredible instruments with the circular sound that's incredibly...sort of rooted in the earth. And we got Rolf Harris in to play it, and he is a brilliant didgeridoo player. He could just keep it going for half an hour." The single went to ninety-one in Australia and forty-eight in the UK.
'Bang!' goes another kanga
On the bonnet of the van.
"See the light ram through the gaps in the land."
Many an Aborigine's mistaken for a tree
'Til you near him on the motorway
And the tree begin to breathe.
"See the light ram through the gaps in the land."

("Ha-ha-ha-ha-ha-ha")

Coming in with the golden light
In the morning.
Coming in with the golden light
Is the New Man.
Coming in with the golden light
Is my dented van.

Woomera.

"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"

"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me.

"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-"

The civilised keep alive
The territorial war.
"See the light ram through the gaps in the land."
Erase the race that claim the place
And say we dig for ore,
Or dangle devils in a bottle
And push them from the Pull of the Bush.
"See the light ram through the gaps in the land."
You find them in the raw.
"See the light bounce off the rocks to the sand."
In the raw.

Coming in with the golden light
In the morning.
Coming in with the golden light
With no warning.
Coming in with the golden light
We bring in the rigging.
Dig, dig, dig, dig away.

"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"

"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me,"

"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-"
Woomera.
"Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"

"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-"
Woomera.
"Me-me-me-me-me."

Ma-ma-many an Aborigine's mistaken for a tree
("La, la, oo-ooh!")
"See the light ram through the gaps in the land."
You near him on the motorway
And the tree begin to breathe.
Erase the race that claim the place
And say we dig for ore.
"See the light ram through the gaps in the land."
Dangle devils in a bottle
And push them from the Pull of the Bush.
"See the sun set in the hand of the man."

"Bang!" goes another kanga
On the bonnet of the van.
"See the light bounce off the rocks to the sand."
You find them in the raw.
"See the light ram through the gaps in the land."
In the raw.
"See the light."
("Push 'em from the")
Pull of the Bush.
"See the light bounce off the rocks to the sand."
("Push 'em from the")
Pull of the Bush.
"See the sun set in the hand of the man."

("Oh, re mikayina!")












The thunderous single for 'Sat in Your Lap' was released more than a year before the album. It went to number ninety-three in Australia, thirty-two in the Netherlands, eighteen in Ireland, and eleven in the UK.

I see the people happy,
So can it happen for me?
'Cause when I am unhappy,
There's nothing that can move me.

Some say that knowledge is something that you never have.
Some say that knowledge is something sat in your lap.
Some say that heaven is hell.
Some say that hell is heaven.

I must admit, just when I think I'm king,
(I just begin.)
Just when I think I'm king, I must admit,
(I just begin.)
Just when I think I'm king,
(I just begin.)

I've been doing it for years.
My goal is moving near.
It says, "Look! I'm over here."
Then it up and disappears.










The single for 'There Goes a Tenner' never charted. Bush considers: "It’s about amateur robbers who have only done small things, and this is quite a big robbery that they’ve been planning for months, and when it actually starts happening, they start freaking out. They’re really scared, and they’re so aware of the fact that something could go wrong that they just freaked out, and paranoid and want to go home...It’s sort of all the films I’ve seen with robberies in, the crooks have always been incredibly in control and calm, and I always thought that if I ever did a robbery, I’d be really scared, you know, I’d be really worried. So I thought I’m sure that’s a much more human point of view."

You blow the safe up
Then all I know is I wake up
Covered in rubble
One of the rabble needs mummy
(What's all this then?)
The government will never find the money
(What's all this then?)

I've been here all day
A star in strange ways
Apart from a photograph
They'll get nothing from me
Not until they let me see my solicitor

Oh, I remember
That rich, windy weather
When you would carry me
Pockets floating
In the breeze

Oh, there goes a tenner
Hey look! There's a fiver
There's a ten-shilling note
Remember them?
That's when we used to vote for him









The revelatory 'Suspended in Gaffa' only stuck on the Dutch charts at number fifty.

Out in the garden
There's half of a heaven
And we're only bluffing
We're not ones for busting through walls

But they've told us
Unless we can prove
That we're doing it
We can't have it all

He's gonna wangle
A way to get out of it
She's an excuse
And a witness who'll talk when he's called

But they've told us
Unless we can prove
That we're doing it
We can't have it all
We can't have it all

"I caught a glimpse of a god, all shining and bright..."

Suddenly my feet are feet of mud
It all goes slo-mo
I don't know why I'm crying
Am I suspended in Gaffa?
Not until I'm ready for you,
Not until I'm ready for you
Can I have it all






























'The Dreaming'
full album:





1. 00:00 "Sat in Your Lap"
2. 03:30 "There Goes a Tenner"
3. 06:57 "Pull Out the Pin"
4. 12:22 "Suspended in Gaffa"
5. 16:08 "Leave It Open"
6. 19:24 "The Dreaming"
7. 23:32 "Night of the Swallow"
8. 29:25 "All the Love"
9. 33:46 "Houdini"
10. 37:37 "Get Out of My House"






The non-album b-side for the singles for "There Goes a Tenner" and "Suspended in Gaffa" was "Ne T'en Fui Pas": a misspelling of the French phrase "Ne t'enfuis pas", which translates to "Don't run away".

aerial

sing a song of blackbirds...

in the twelve years it took her to compose, record, and release aerial, kate bush dealt with the loss of her mother and the dissolution of a long term relationship, started a new marriage, and gave birth to her son. all of those major life threads tie together this elegant and enthralling concept album that explores the magic somewhere in between the everyday moments from motherhood to elvis, from irrational numbers to laundry, from joan of arc to twilight. in her female odyssey it is not clear if she is penelope or molly; but it ends with the same affirmation of life with a flourish of laughter and love. the music is a rich tapestry of lush and varied instrumentation with touches of flamenco, reggae, and electronica (not to mention lots of twittering, soaring birds). you could be in a dream, you could be invisible, you could be climbing up on the aerial. the bird represents inspiration and transcendence in the dance with art and accident. the soundwave of a blackbird song forms the figure on the cover that becomes a series of rocky islands that form the line between a sky of honey and a sea of honey. it is a sublime spiritual journey.








http://www.katebush.com/

"elvis, are you out there somewhere
looking like a happy man?
in the snow with rosebud

and king of the mountain"

π

"oh he love, he love, he love

he does love his numbers
and they run, they run, they run him
in a great big circle
in a circle of infinity"

"is that the wind from the desert song?

is that the autumn leaf falling?
or is that you walking home?"

"this is where the shadows come to play

'twixt the day
and night
dancing and skipping
along a chink of light"

"it came up on the horizon

rising and rising
in a sea of honey, a sky of honey"

my daughter loves the interlude about two minutes in with the hysterical chirping.

"all of the birds are laughing

come on let's all join in"

aerial
full album:

All tracks written by Kate Bush. 



A Sea of Honey
1. "King of the Mountain"   4:53
2. "π"   6:09
3. "Bertie"   4:18
4. "Mrs. Bartolozzi"   5:58
5. "How to Be Invisible"   5:32
6. "Joanni"   4:56
7. "A Coral Room"    6:12





A Sky of Honey 
8. "Prelude"   1:26
9. "Prologue"   5:42
10. "An Architect's Dream"   4:50
11. "The Painter's Link"   1:35
12. "Sunset"   5:58
13. "Aerial Tal"   1:01
14. "Somewhere in Between"   5:00
15. "Nocturn"   8:34

16. "Aerial"   7:52