What is parallel sinking




Remastered Vinyl I - IV












Vinyl I: The Kick Inside, Lionheart, Never For Ever, The Dreaming
Vinyl II: Hounds of Love, The Sensual World, The Red Shoes
Vinyl III: Aerial, Director’s Cut, 50 Words for Snow
Vinyl IV:
12 ″ Mixes: Running Up That Hill (A Deal With God), The Big Sky (Meteorological Mix), Cloudbusting (The Orgonon Mix), Hounds Of Love (Alternative Mix), Experiment IV (Extended Mix).
The Other Side I: Walk Straight Down The Middle, You Want Alchemy, Be Kind To My Mistakes, Lyra, Under The Ivy, Experiment IV, Ne T'Enfuis Pas, Un Baiser D'Enfant, Burning Bridge, Running Up That Hill ( A Deal With God) 2012 Remix.
The Other Side II: Home For Christmas, One Last Look Around The House Before We Go, I'm Still Waiting, Warm And Soothing, Show A Little Devotion, Passing Through Air, Humming, Ran Tan Waltz, December Will Be Magic Again, Wuthering Heights (Remix / New Vocal from 'The Whole Story').
In Others Words: Rocket Man, Sexual Healing, Mná na hÉireann, My Lagan Love, The Man I Love, Brazil (Sam Lowry’s First Dream), The Handsome Cabin Boy, Lord Of The Reedy River, Candle In The Wind.



Remastered Part I + II






CD-Box I: The Kick Inside, Lionheart, Never For Ever, The Dreaming, Hounds of Love, The Sensual World, The Red Shoes.
CD-Box II: Aerial, Director’s Cut, 50 Words for Snow, Before the Dawn (Original Mastering) 12 ″ Mixes, The Other Side 1, The Other Side 2, In Others ‘Words



Before The Dawn






CD 1: Lily - Hounds of Love - Joanni - Top of the City - Never Be Mine - Running Up That Hill - King of the Mountain

CD 2: Astronomer’s Call (Spoken monologue) - And Dream of Sheep - Under Ice - Waking the Witch - Watching Them Without Her (dialogue) - Watching You Without Me - Little Light - Jig Of Life - Hello Earth - The Morning Fog

CD 3: Prelude - Prologue - An Architect’s Dream - The Painter’s Link - Sunset - Aerial Tal - Somewhere In Between - Tawny Moon - Nocturn - Aerial - Among Angels - Cloudbusting



50 Words For Snow






Snowflake - Lake Tahoe - Misty - Wild Man - Snowed In At Wheeler Street - 50 Words For Snow - Among Angels



Director’s Cut






Flower Of The Mountain - The Song Of Solomon - Lily - Deeper Understanding - The Red Shoes - This Woman’s Work - Moments Of Pleasure - Never Be Mine - Top Of The City - And So Is Love - Rubberband Girl









A Sea Of Honey: King Of The Mountain - Pi - Bertie - Mrs. Bartolozzi - How To Be Invisible - Joanni - A Choral Room

A Sky Of Honey: Prelude - Prologue - An Architect’s Dream - The Painter’s Link - Sunset - Aerial Tal - Somewhere In Between - Nocturn - Aerial

Aerial as an overall concept

Kate herself says about "Aerial" (1) that it consists of two CDs so that the listener is not overwhelmed. One CD is a concept album, the other simply contains “a few more songs”. It sounds like both CDs are two separate works that can be viewed separately. In my opinion, however, there are indications that both CDs fit into an overall concept. I want to show these indications here.
On the front cover, a honey-colored sea and a honey-colored sky are separated by a shadowy sound curve that accentuates the horizon line. The sound curve is represented like a distant rock formation that is reflected in the sea. Some clouds hang like flags on the rock formations and are also reflected in the yellow water. The sky is clearly and precisely drawn, the mirrored sea, on the other hand, rougher and more washed out. The sun is behind one of the rock peaks, a twilight situation is shown. Surprisingly, the sun is not reflected in the sea. The sun is surrounded by a fine white circle, this circle intersects the sky, rock formation and sea. The album title is written in the sky, the “KT” sign is hidden in the sea.
The back cover of the Digipac has a similar structure. The sky, the sea and the sound curve are shown in a more abstract way. According to the order of the CDs, the titles of the Sea CD are at the top, those of the Sky CD are at the bottom. A further stylized sound curve (this time in a pale yellow) is shown in each of the two halves. The structure of the backcoker is therefore strictly symmetrical, both playlists are reflected in each other.
In the further design of the Digipac there are further indications of an overall concept. If you open the Digipac, you get to the (I will call it that now) middle cover. A girl dressed like a maid looks at the viewer. In the background you can see a tree through a lattice window in a garden. In front of the girl is a sheet of paper with numbers, next to it a blue inkwell with the inscription “black… ing ink” - with the addition “copying”, this could stand for black copying ink (is Kate representing herself here?). In the fully opened Digipac you can see a house in the background, made entirely of brick, obviously old, with many lattice windows. It could be the house the girl is sitting in. Clotheslines with laundry stretch across the three parts of the inner cover. This motif also spans the two CDs, which can hardly be distinguished from one another on the outside. The white wash turns into two white pigeons that are barely noticeable to the right and fly away to the right.
There are many references to individual titles here. The girl in the maid's clothes and the laundry refer to “Mrs. Bartolozzi ", the drawn numbers on" Pi ", the ink on the painting theme (" An Architects Dream "," The Painters Link "), the white shirt on the left on the Elvis shirt from the" King of the Mountain "video ( this can also be found in the booklet), the pigeons on the right on the pigeons on the Sky CD.
The symmetries in the front cover and in the back cover indicate to me that both CDs can be understood as mirror images of each other. The almost identical titles "A Sea of ​​Honey" and "A Sky of Honey" underline this. They are structured in the same way in the choice of words and are the same except for one word. They refer to the two mirrored components of the sea and the sky. The creative indistinguishability of the CDs and their embedding in a picture motif are further indications for an overall concept for me.
If there is an overall concept, then both CDs should have an inner program. With the Sky CD this is obvious, a daily routine is described. In my opinion there are also indications of an internal program for the Sea CD. They are all titles about people: Elvis in “King of the Mountain”, Kate's son Bertie in “Bertie”, Joan of Arc in “Joanni”, Kate's late mother in “A Coral Room”, a Mrs. Bartolozzi in “Mrs. Bartolozzi ”, a man fascinated by numbers in“ Pi ”, Kate herself (?) In“ How to be invisible ”. They are all titles that refer a bit into the past or have memories on the subject (Elvis, Johanna, the mother, the instrumentation in “Bertie”, Mrs. Bartolozzi, who is daydreaming).
The final song "A Coral Room" has the sea as its theme and is an invitation to remember or to feel, here the sea is used as a symbol for memory. The last line of the Sea CD is “Put your hand over the side of the boat. What do you feel? " In the song, the boat is used to sail the sea of ​​memory. A boat named “Aerial” separates the two halves in the booklet. In an interview (2) there is a reference that there is a picture by the artist James Southall in Kate's apartment “soon to be familiar as part of the inner artwork of Aerial”. The lettering "Aerial" has been added to the picture of the boat, which reinforces the reference to the entire album. The boat of memory is therefore linked to a strong personal relationship with Kate. The conclusion is that the Sea CD is a very personal souvenir CD. There are other references to personal references. Apparently a replica of the rosebud sleigh from "Citizen Kane" (2), which is referred to in "King of the Mountain", hangs in Kate's apartment. In addition, Bertie is said to be a gifted Elvis impersonator (3), which also refers to "King of the Mountain".
The painter Southall was originally an architect (4). This could be alluded to in "An Architect’s Dream" as a further indication of an overall concept.
Certain details on the Sea CD refer to the Sky CD. Bertie e.g. apparently initiates the Sky CD. Mrs. Bartolozzi (who thematizes the laundry and the clothesline) falls into a daydream that turns into visions of the sea (“Little fish swim between my legs / Oh and the waves are coming in”) and this is the content of “Nocturn " again.
The Sky CD describes a sequence of days from afternoon to morning. Bird voices form a continuous motif, as does the painter's theme. The multiple use of the lines of text "A Sea of ​​Honey" and "A Sky of Honey" (always in context) link the two CDs together lyrically just like the cover does. A very clear indication of the unity of the Sky-CD is the resolution of the sound curve of the cover in the booklet as the bird's voice from "Aerial Tal", the time and time indications relating to the entire CD clearly show the unity of the Sky-CD. The end of “Nocturn” with its “climbing up the aerial” also refers to the album title and also represents the exact situation depicted on the front cover. Aerial ”ends“ high on the roof ”, precisely this is one of the interpretations that Kate herself (1) gives for the entire album (“ When I hear the term “Aerial”, I think of height. Of a position in which you hover over things and can look down. ").
Certain details on the Sky CD refer to the Sea CD. E.g. there is the reference to the sea in "Nocturn". The introductory line of text "Sweet Dreams" fits in with Mrs. Bartolozzi's daydreams about the sea. Is "Nocturn" Mrs. Bartolozzi's daydream?
For me it is therefore quite conclusive that both CDs belong together and that they are embedded in an overall concept. They are mirror images: past / memory and present / future / dream.

(1) Interview in “Eclipsed”; No. 78, Dec / Jan 05/06, page 24 ff.
(2) Interview in “Mojo”; Dec. 2005, p.79
(3) John Mendelssohn: Waiting for Kate; Schlüchtern 2005; P.325
(4) see http://www.artnet.de/galleries/Exhibitions.asp?gid=381&cid=72313
Author: Achim, Hannover (aHAJ)

The concept behind "A Sky Of Honey"

The “sky side” of “Aerial” is a concept album. This is said by Kate herself in (1), whereby “concept” (also the term “suite” is used by her) seems to be more of a working term for Kate. Kate makes only a few and rather cryptic statements about the underlying concept itself. So how can you interpret and interpret “A Sky of Honey” based on the music, the text and the design of the booklet? I would like to investigate these questions in this article.
There is a statement from Kate about the bird calls that can be used as a starting point for an interpretation (1):
"It's almost as if they're vocalizing light," she ruminates. "And I love the idea that it's a language we don't understand. Obviously a lot of it is, like 'Fuck off! This is my spot. ‘And obviously, 'Cor, you're a bit of all right!‘ But there's more to it than that. It's incredibly complex. "
So the voices of the birds are a language for Kate that we do not understand. A language in which very complex content is expressed. For Kate, bird calls are also a representation of light in tones.
Birdsong (and what they tell us) play the central role of the concept album (the symphony?) "A Sky of Honey", as does the subject of the representation of light and colors. Based on this, the other components appear logical. People represent light through painting. The light changes over the course of a day. The birds sing of the moods of this different light. Kate sings of the moods of this light from a human perspective.
Based on the booklet, “A Sky of Honey” can be divided into four (merging) movements, the afternoon movement, the sunset movement, the night movement and the morning movement. Each of these sentences is characterized by its own mood. Musically, it is based on a symphonic order scheme (slow / fast, dance movement / slow / fast, finale). The titles of some pieces also refer to models of romantic music (“Prelude”, “Prologue”, “Nocturn”).
The introductory afternoon sentence consists of "Prelude", "Prologue", "An Architect’s Dream" and "The Painters Link". The booklet for this is held in hazy afternoon light, clouds in the sky, pigeons soar. The bird sound curve that characterizes all booklet pages on the Sky page is shown in a pale gray. This first movement is calm, with the piano and strings playing an important role. The southern light and the blurring colors are conjured up in extremely romantic music, which in its mood is reminiscent of the English late romanticists.
“Prelude” begins softly with bird calls in the background that form a real carpet of voices. Pigeon cooing is added, a piano picks up the rhythm of the pigeon's voices. Bertie speaks "Mummy .. / Daddy .. / The Day is full of birds / Sounds like they're saying words". The pigeons answer, they sound like words. In “Prologue” Kate takes this apparently naive statement from “Kindermund” (“We're gonna laughing about this”) and interprets it in her own way. She sings of the birds that say goodbye and move south, into the southern light. She sings about taking off with the birds. (“Joker” not only interpreted this wonderfully in (2)!) The romantic mood is evoked (“Oh so romantic, swept me off my feet”). The chorus leads over to the painter's theme, the representation of light and color from a human perspective. “An Architect’s Dream” describes light and color from the perspective of the person, the painter (“Watching the painter painting / And all the time, the light is changing). This song was apparently the first song on the Sky website (1), the nucleus of the concept album, written in 1998. But the efforts are in vain, in “The Painter's Link” nature destroys the painter's efforts and turns it into something of its own : Colors become sunset. This “link” leads to the next sentence.
The sunset sentence consists of "Sunset", "Aerial Tal" and "Somewhere in between". The booklet for this is sunset-colored, a blackbird creates the pitch-black bird's sound curve, on the right you can see ravens in front of the darkening sky. This second movement is more dance-like. Two rhythmic parts are connected by a differently tuned middle piece. In this way, the shape is recorded and interpreted, which is also used in classical music for the fast movement of a symphony.
“Sunset” is a description of the sunset in a sea and a sky like honey. The music is jazzy and relaxed. The statement "It's almost as if they're vocalizing light" about the birdsong (1) is addressed ("This is a song of color / Where sands sing in crimson, red and rust"). It's a farewell song. The light has to die, but will continue to live in the stars ("Every sleepy light / Must say goodbye / To day before it dies / In a sea of ​​honey / A sky of honey"). The song ends in a flamenco chorus, a final dance before dark. A blackbird begins lonely with “Aerial Tal”, then the piano joins it, then Kate in an imitation of the birdsong song. The cooing of pigeons leads abruptly to the next song. This short and strange song contains one of the central statements (Kate sings and interprets the song of the birds), so maybe it has found use as a teaser in advertising. “Somewhere in between” then takes on the human perspective again. It's a song in a pulsating, calm rhythm about the twilight. A point of calm has also been found in the mood ("Oh how we have longed / For something that would / Make us feel so .."). The refrain addresses this twilight situation with its “somewhere in between” statements. There is a soft male voice accompanying it, you are no longer alone at this quiet point. Finally, good night from Bertie - everyone is united.
The night set consists of "Nocturn". In the booklet for this, the blue night is shown, which becomes so brighter to the right, as if there is morning. Water can be seen, stars and birds, a person disguised as a bird. Only here in the booklet on the Sky page does a person appear, but he appears as if transformed into a bird. The bird sound curve is pure white and without contouring. The music of this third movement begins very calmly, but increases to a jubilant climax.
The chorus at the beginning of “Nocturn” (“Sweet Dreams”) signals that something like a hypnotic dream sequence is involved. Man in harmony with nature (man turned into a bird) is only possible in dreams. The night light is described in all its facets (moonlight, starlight like diamond dust). The song culminates in sunrise ("Look at the light, all the time it's a changing / Look at the light, climbing up the aerial"), in waking up ("and all the dreamers are waking") and in swinging out in "Aerial" .
The final morning movement consists of “Aerial” and emerges seamlessly from the third movement. In the booklet for this, the bird sound curve is bright and sun-colored. A flying bird is shown in the curve as an embodiment of this curve. The background consists of shadowy flying birds against a red sky. The bird in the sound curve is very similar to the bird in the bird mask from "Nocturn". This fourth movement is a typical final movement, fast and loud and a bit jubilant.
At the beginning of "Aerial" you can hear birdsong in the background behind the rhythm swinging out of the climax of "Nocturn". Then one dominates
technoid rhythm, reality in all its natural remoteness has us again; we woke up from the dream. And yet the chorus “I feel I want to be up on the roof” sounds almost like a bird's call, the melody is still close to the bird world. This is confirmed by “Tell me what you are singing in the sun”, and the dialogue with the birds is resumed. A blackbird sings, Kate in counter-singing, her own voice, no longer an imitation like in "Aerial Tal". At the end this turns into rhythmic laughter, with "All of the birds are laughing / Come on let's all join in" invites you to laugh along. The song culminates in an increasing dance of voices, instruments and laughter, followed by the bird's-voice carpet and the cooing of the pigeons. This closes the circle of the concept album and we are back at the beginning.
“Joker” sums it up perfectly (2): “Kate laughs with the birds, has become a bird herself, has flown out to find her happiness. She knows something now. Something only she knows. From high up she looks down at the earth and laughs. She has something ahead of all the people down there. She had her “enlightenment”. ”“ A Sky of Honey ”follows the forms of a symphony to represent this theme. It is a symphony that represents and interprets light and color in nature, in the human world and in the soul. It is a symphony about breaking out of darkness.
In addition to the content presented above, there are more things that can be used to support the interpretation. In almost all cultures, birds are seen as a representation of the human soul (3). In mythology, birds are often lucky appearances. Even in ancient times they embodied the human soul, which emerges from the body at the moment of death and flies away. In Christian culture, too, the bird is a symbol of the soul. He appears in depictions of Mary with the child, in which the Christ child is holding a bird in her hand or on a leash. So when Kate sings about the song of birds and their language, she sings about the language of the human soul.
In the English music of the late Renaissance (e.g. with John Dowland) the longing for death is symbolized by the "Black bird" (4). In countless poems around Dowland's Lachrimae pavans, this black bird is sung about and downright longed for. A typical example: “Where the black bird of the night laments its suffering, let me live in solitude.” In his sleep, Dowland sees the ally of death, a child of the black-faced night, a black bird of melancholy. This fits the theme of farewell and loneliness in the sunset movement and is also reflected in the booklet design.
The references to classical music of the Romantic period are also diverse, not only in terms of the design and the naming of individual titles. The line of text “Can you hear the lark ascending” in “Prologue” could refer to the violin concerto “The lark ascending” by Vaughan Williams (5). The beginning of “Nocturn” is musically and thematically reminiscent of the beginning of “Summer Night on the River” by Delius, to which Kate has already dedicated a song. In the mood of the slow movements, “A Sky of Honey” is reminiscent of the “Four Last Songs” by Richard Strauss, especially the song “Im Abendrot” (“At Sunset”). In this song reference is also made to the symbol of the rising lark ("The valleys lean around / The air is already dark / Two larks only rise / Night dreaming in the scent.") And to death ("O further quiet peace." ! / So deep in the sunset / How tired are we hiking / Is that death? ").
With “A Sky of Honey” Kate Bush has moved very far away from what is meant by “pop songs”. I think it is the independence of this design that irritates some listeners, this mixture of beauty and radicalism. With every album Kate reinvents a world, this sentence has been confirmed for me more than ever after this analysis. And what the birds tell us applies to the audience: "Obviously a lot of it is, like 'Fuck off! This is my spot. ‘And obviously, 'Cor, you're a bit of all right!‘ But there's more to it than that. "

(1) Interview in “Mojo”; Dec. 2005, p.76 ff.
(2) Contribution from "Joker" on http://www.carookee.com/forum/Kate-Bush/22/8136960.0.01105.html?p=2
(3) L. Impelluso “Nature and its symbols”; Berlin 2005; P.288
(4) V. Kalisch, M. Feldberg, P. Huth, U. Kirfel: Musica et Memoria; Düsseldorf 2005; Booklet for the CD box of the same name; P.17
(5) Record review of “Aerial” in “Uncut”; Dec. 2005; P.98
Author: Achim, Hannover (aHAJ)



Kate Bush: Live At Hammersmith Odeon






Box: Video (first published in 1981) plus CD with excerpts from the 1979 concert

Moving - Them Heavy People - Violin - Strange Phenomena - Hammer Horror - Don’t Push Your Foot On The Heartbrake - Wow - Feel It - Kite - James And The Cold Gun - Oh England My Lionheart - Wuthering Heights



The Red Shoes






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

The Red Shoes - An Analysis

“The Red Shoes” is not a concept album. But even if it isn't, in my opinion there is a common thread in this album. I would like to try to trace this common thread. The interpretation and interpretation will be based on the music, the text and the design of the booklet or cover.
According to Kate herself, titles grow and change as they are created, new ideas and impressions flow in (1). Such inspirations come from the personal environment. When interpreting an album, the consideration of these influences is an aspect to be considered and not to be neglected.
At the time the album was being made, there were serious events in my personal environment. Kate's mother died suddenly, friends died. The shock of her mother's death was so severe that Kate had to stop work for months (2). Losses, losses of people and illusions form the background of the album. A search for support can be felt (there are religious themes), a search for support (therefore the large number of well-known guest musicians?), A search for direction, for a way out. “The Red Shoes” comes from a world that is in pieces.
According to Kate, the title of her album is a kind of short description, something like a book title, in which the essence of the album can be found like a motto. “The red shoes” is the title of a fairy tale by Andersen. A girl is obsessed with owning a pair of red shoes. For this she gives up everything, neglects everything, indifferently accepts the death of loved ones. She is punished by a spell, has to damn dance forever, only chopping off her feet breaks the spell. Finally, after a long time of apology, she dies, finally redeemed. This fairy tale was recorded and interpreted by Michael Powell in a famous ballet film in 1948. A dancer is torn between her passion for her dance and her love for a man.
The motif of the red shoes dominates the cover, but the booklet also refers to a second track on the album. Fruits are the (ostensible) theme of "Eat the music" and the back cover is determined by these fruits, red and lively and unopened. The booklet itself can be unfolded, as if it were hiding a secret inside. On the outside it shows a dance performance, Kate and a second person, classy, ​​black and white, sensual. This picture is placed on a carpet of unopened fruits. After unfolding the booklet, the real inside reveals itself: opened, cut fruits, no longer red and alive, like an injured, broken, bloody body. The titles and texts are laid over them like a dark shadow. For me this is a disclosure of the violation, but also an unconditional opening towards the listener. In the text of “Eat the music” it says “Split me open / With devotion / You put your hands in / And rip my heart out / Eat the music”. All of this is shown in the pictures of the booklet.
Aspects of being lost, of loss, of exhaustion, of the search for support can be found everywhere in the songs. A disruption in the relationship with her long-time partner Del Palmer is already hinted at in the songs, the motif of separation and lost love appears in several songs. And in fact, after the album, there was a breakup (2).
In "Rubberband Girl" the rubber band symbolizes flexibility, the lifeline. Here there is a lot of happiness in the music, it seems to be a dance song. There are many elements in the background, voices come from all directions, that is chaos and disorientation. “And so is love” is dominated by sadness and a mood of loss, doubt, and despair. "Eat the music" is apparently happy music again, but the same musical motif is repeated almost obsessively. The text is also anything but cheerful (see above). "Moments of Pleasure", "The Song of Solomom" and "Lily" are about loss, loneliness, the search for warmth and closeness, the search for help, protection and support. In the obsessive dance piece "The red shoes" there is the motif of the escape from the previous life ("Put them on and your dream'll come true / With no words, with no song / You can dance the dream with your body on") . "Top of the City" is a sad ballad about the loss of love and about suicide. "Constellation of the Heart" is about a confrontation with love, the heart, but also with pain, drawn into the comic, with whispering voices of the choir trying to convince Kate that life is good / beautiful / wonderful can be and not just fearful / painful. “Big stripey lie” is totally strange, absolutely dark, almost without any hope (except for a lonely, wonderful violin line). Turning away from the world and doubts characterize "Why should i love you", a saddest declaration of love "You’re the one" to the lover after the breakup is what the album concludes. (In the place of Del Palmer, I would have started pondering here at the latest.)
There is pain throughout this album. Everywhere in this album there are menacing voices, noises, chaos in the background. An album of abandonment, despair, feigned happiness, a (help) scream. An album about the collapse of the world; a snapshot shortly before the crash. After that, the long break from exhaustion was logical and afterwards an album flooded with light like “Aerial” appears even more like a liberation, like a turning away from the past.
“The red shoes” is an underestimated or not understood album. Even Jovanovic (2) in his otherwise good book does not draw any conclusions and has doubts about him. At the moment, in the aerial hype, it is practically fashionable in the music press to make the album bad - in (4), for example, there is talk of "that was deadly old-people condescension". In my opinion, something like this is an indication of a very superficial, zeitgeist-disturbed approach and an admission of (wanting) to not understand. Is this recoil based on a fear of emotions that are so openly shown in the music? Even Kate withdraws from this directness and openness afterwards, relativizes and disguises the album (5): "It's mutch too long and it goes on and it gets boring."
“The red shoes” will probably need a few more years to be appreciated. An album like “The Dreaming”, which is very similar in mood and choice of media, fared no differently. But if you take a closer look at the album, understanding and appreciation is very quick (love is another thing). Fans should be able to do that .-)

(1) Interview in "Vox" 11/93 p. 32 ff.
(2) R. Jovanovic: Kate Bush. The Biography; London 2005; P.183 ff.
(3) Interview in "Eclipsed" 12-01 / 05-06 p. 24 ff.
(4) Falk Schreiber: "The Revenant"; in "Kulturnews" 01/06 p.8
(5) Interview in "Mojo: 12/05 p. 76 ff.
Author: Achim, Hannover (aHAJ)



This woman’s work






8-CD box set

CD 1: The Kick Inside - CD 2: Lionheart - CD 3: Never For Ever - CD 4: The Dreaming - CD 5: Hounds Of Love - CD 6: The Sensual World.

CD 7: The Empty Bullring - Ran Tan Waltz - Passing Through Air - December Will Be Magic Again - Warm And Soothing - Lord Of The Reedy River - Ne T´En Fuis Pas - Un Baiser D´Enfant - Under The Ivy - Burning Bridge - My Lagan Love - The Handsome Cabin Boy - Not This Time - Walk Straight Down The Middle - Be Kind To My Mistakes

CD 8: I'm Still Waiting - Ken - One Last Look Around The House Before We Go…. - Wuthering Heights (New Vocal) - Experiment IV - Them Heavy People (live) - Don´t Push Your Foot On The Heartbrake (live) - James And The Cold Gun (live) - L´Amour Looks Something Like You (live) - Running Up That Hill (12 ″) - Cloudbusting (The Organon Mix) - Hounds Of Love (Alternative) - The Big Sky (Meteorological Mix) - Experiment IV (12 ″)



The Sensual World






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 - Walk Straight Down The Middle

The Sensual World: An Analysis

The starting point for my analysis is the title of the album. With the title, a trademark is placed on the album. The content and the moods are summarized in a catchy phrase. Kate's album titles are mostly programmatic, they serve as an introduction to the musical world, form the motto [1]. In my contribution I would like to prove the thesis that “The Sensual World” is an album about sensual experience, an album about our emotional relationship with the world and with our fellow human beings in all their facets.
Kate says herself [2] about the title track: “In the song, the main character switches from her black and white, two-dimensional world to the real world. The first impression is the sensuality of this world. The fact that you can touch things, that you can see the color of the trees, feel the grass under your feet. The fact that we are surrounded by so much sensuality. We don't even notice them anymore. But I am sure that someone who has not experienced all of this before would be completely overwhelmed by it. "
Ideally, the cover visualizes the content of the album, it gives the title of the album a meaningful image. In “The Sensual World” the cover motif fits very well with this “change” into the sensual world, this becoming human. However, it also contains further interpretation information.
In simple black and white, with a hint of brown, the cover looks like an old, somewhat yellowed photo. The title is also simple, in gold letters. Kate looks directly at the viewer with wide eyes, her hair blurring with the velvety background and is barely visible. The face - somewhat unreal, pointed, fairy-like - emerges from a shapeless darkness "into the sensual world". Kate is bare, she holds a large, fully bloomed rose in her hand, behind which she hides the lower part of the face (the mouth). This oversized rose, together with Kate's big eyes, dominates the picture. It is unclear whether it is a white rose or a red rose. This rose apparently symbolizes the main character shown on the cover of the track "The Sensual World", in which the first-person narrator speaks of herself as the "flower of the mountain".
The rose is a flower that is extremely symbolic. The highlighted position on the cover almost forces one to deal with these meanings. The red rose means love and marriage, the white renunciation and death (cemeteries are often referred to as rose gardens) [3]. In ancient times, roses meant mourning and death. In Rome, the festival in which the graves of the dead were decorated with roses (the "Rosalia") was one of the death rituals. In the course of Christianization, however, the flower was then associated with Mary, the red rose, as it were, became a symbol of the Mother of God [4]. For the great astrologers like Agrippa von Nettesheim, the rose was the flower of the great goddess Venus, the flower of love and beauty [5]. The arrangement of the sepals also leads to the pentagram (pentagon), whereby the rose also became a symbol of the mystery [3].
With “The Sensual World” and with the rose in hand, Kate shows herself to be a light and a dark herald of love and secrets. With this rose in full bloom, Kate shows us that it is about the embodiment and representation of the feminine aspects. Open statements by Kate [2] support this:
This is my most feminine record. Rock music is dominated by men, with powerful drum sounds and powerful bass. These are the typical macho sounds. I wanted to put female voices and female arrangements on top. I wanted to emphasize female strength. "
Are these aspects reflected in the music and in the lyrics? In my opinion, certainly with the texts. With music this is more difficult to judge.
As Kate mentioned, the music is not characterized by drumming basses. It is complex, interwoven, soft, characterized by overlapping structures. It is an integrated sound, the voice is one timbre among many. The integration of the voice often goes so far that the text is barely understandable. The music is characterized by female voices (Kate, Trio Bulgarka). Classical instruments are used and there are also many Irish echoes. The complex, sensual world is interwoven with the past. These sounds are not "masculine" as Kate said. However, the feminine aspects come to light more openly in the texts.
The album spans from the title track “The Sensual World” to the final track “This Woman’s work” (in the CD version “Walk Straight Down The Middle” is added as a bonus track). The lyrics revolve around relationships and related emotions, seen from a female point of view. The arc spans from entering the sensual world to the birth of a child, the passing on of life.
The germ cell is the song "The Sensual World", the first track on the album, the eponymous track. Originally, the famous final monologue of Molly Bloom, which is overflowing with sensuality and eroticism, from James Joyce's “Ulysses” was to be used as the basis for the text. Since Kate did not get the rights, the text was based on it, now additionally enriched by the motif of stepping out of the page into the sensual world. With this first song, the main female character on the album enters the world and begins her experience. "Bloom" means fragrance, blossom, breath, beauty, rosy freshness. All these associations can be found in the text (e.g. "He said I was a flower of the mountain, yes, / But now I've powers o'er a woman's body, yes.") And are also reflected in the cover design (e.g. the Rose).
In the other titles, experiences range from the feelings between two lovers (“Love and Anger”) to orgiastic exuberance (“Rocket’s tail”). In between there are songs about all kinds of affection, love, relationships. There are songs about love that is deep and scary like water ("The Fog"), songs about instinctive desire, the desire for love and affection, but also about the dangers involved ("Reaching Out"), songs about the fascination of evil in everyday garb ("Heads we're dancing").
Just as the album begins with a “birth” in “The Sensual World”, it ends with a (re) birth in “This Womans Work”. This track was written as film music for the film "She’s having a baby". He accompanies a very emotional scene in which a husband is worried about his wife who is going to have a baby.
The bonus track "Walk Straight Down The Middle" attached to the CD version also revolves around the topic of relationships. However, when attached like this, it does not fit into the framework between birth and birth (which is why I usually leave it out when listening to the album and prefer to listen to it individually). The album is a great visualization of the final monologue from “Ulysses”, an impression of this “sensual world” that you step out of the paper. Although the view of the world takes place with a female gaze, it is more comprehensive, more general. The album is a profound exploration of what defines the human-sensual world: relationships of all kinds. Or to sum it up in one short sentence: "The purpose of The Sensual World is to examine all sorts of problems in relationships" [6].

[1] M. Loesl: "Kate Bush speaks!"; "Eclipsed"; No. 78, Dec / Jan 05/06, pages 24-25
[2] C. Rebmann: "Kate Bush"; Fachblatt Musikmagazin 11 (?) / 89 (quoted from gaffaweb)
[3] The Great Brockhaus; Leipzig 1933; Volume 16, p.98
[4] L. Impelluso: Nature and its symbols; Berlin 2005; P.118
[5] W. Bauer, I. Dümotz, S. Golowin, H. Röttgen: Bildlexikon der Symbols; Munich 1980; P.32
[6] R. Lucius: "The Lily in Her Soul"; HomeGround No. 68 pages 12-13

Author: Achim, Hannover (aHAJ)



The whole story






Best of: Wuthering Heights (New Vocal) - Cloudbusting - The Man With The Child In His Eyes - Breathing - Wow - Hounds Of Love - Running Up That Hill - Army Dreamers - Sat In Your Lap - Experiment IV - The Dreaming - Babooshka



Hounds of Love






Hounds Of Love: Running Up That Hill (A Deal With God) - Hounds Of Love - The Big Sky - Mother Stands For Comfort - Cloudbusting

The Ninth Wave: And Dream Of Sheep - Under Ice - Waking The Witch - Watching You Without Me - Jig Of Live - Hello Earth - The Morning Fog

Bonus tracks for the 100th birthday of EMI 1997: The Big Sky (Meteorological Mix) - Running Up That Hill (12 ″ Mix) - Be Kind To My Mistakes - Under The Ivy - Burning Bridge - My Lagan Love

Hounds of Love: An Analysis

The album “Hounds of Love” is a high point in Kate Bush's career, a milestone. It contains a wealth of original and beautiful songs that allow a variety of interpretations. Like hardly any Bush album before, it is a glimpse into a fascinating world of its own.
At first glance, the album is much sunnier than the previous “The Dreaming”. The musical means - still used in the intoxication of the experiment on “The Dreaming” - are now fully mastered, characterized by self-confidence, and applied in a masterly manner.
Far too little attention is paid to a sentence that Kate Bush said in a radio interview (Diliberto 1985, only included in the radio interview): "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.“Kate's albums can (and should) be understood as mood diaries. Kate Bush herself gives frank information about this basic mood of the album: “I wanted to write about the positive power of love and no longer about people who destroy themselves. [..] In doing so, I wanted to describe love not only as a happy, light-filled affair, but also to show it in all, including its dark, aspects. This gave the LP two very different sides. The first gives an outlook on different forms of love and is all about relationships, and the second goes deeper, hence the concept that encompasses all pieces."(Hub 1985)
The main idea is therefore the different aspects of love, with the second side looking at the deeper aspects. The album is thus divided into two clearly separated pages. Kate has admitted that at first she was unsure about the viability of the concept idea and that she therefore designed a page with individual songs as a “safety line”, so to speak: “So it made sense for me to secure myself by writing a couple of other songs for the other side while I was working on that side."(Devitt 1985). The first page is also intended as a counterpart (mirror?) To the concept page: "It would be interesting to have a side that was conceptual, and then make the other side a kind of counter-balance."(Devitt 1985)
The first page is a handful of love songs about problematic relationships. The music is pop-song-like, accessible. Kate Bush's songs have never been more chartable. But that only applies to the music - the lyrics are of a more profound nature. Complex aspects of love are discussed. The fact that love can not only be sunny but also frightening at the same time is made clear by the title of this page (and the album) - "Hounds of Love". Kate explains it like this: "[..] these are the dogs that hunt - symbolically of course - those who are afraid of love, who are afraid of falling into a" trap ". But they are not really bad dogs, you can see on the cover how gentle and beautiful the "Hounds of Love" are."(Hub 1985)
"Running up that hill" was the first song on the album in the summer of 1983 (Thomson 2012, p.258). It is a hymnically driving track full of energy with a basic carpet of soft drums and a synthesizer chord used like an organ point. The song is about the impossibility that two lovers can really understand each other and how tempting it would be to be able to swap bodies for a short time and immerse yourself in the soul of the other person. It's energetic and sung perfectly - apparently it's a very energetic relationship where sparks fly.
"Hounds of Love" is loosely based on the film "The night of the demon", in which a demonic being is let loose on people. The fear of the demonic, destructive power of love is discussed. The song is more torn in the rhythm, more threatening. To me, this pushing rhythm sounds like a large chasing animal that is running through a dark forest (and arriving at the end). Big, dangerous, powerful. But that is only the view of love from the cowards' point of view (the word “coward” occurs in the text) - the hounds of love are gentle and beautiful. They protect those who take them in their arms and let them get close - that's what the cover says.
“The big sky” is a driving wave that keeps increasing. Turning away from reality, perhaps fear of reality, a look at the sky (as in "Hello Earth" - this is reflected here). It's about not being understood in relationships (“you never understood me”). The song is full of voices, an overwhelming chaos of events. Your own imagination is full of secrets and limitless. But there are also hints of dark things, references to water, a great flood - the line of text “build me an ark” occurs. This can be seen as a further reference to the second page “The ninth wave” of the album.
In contrast, “Mother stands for comfort” is cool, calm, withdrawn, almost psychopathically unemotional in its instrumentation. The mood has cooled down, frozen to death. Someone relies on their mother's unconditional love no matter what they've done. Kate Bush herself explained it perfectly: "Well, the personality that sings this track is very unfeeling in a way. And the cold qualities of synths and machines were appropriate here. There are many different kinds of love and the track’s really talking about the love of a mother, and in this case she’s the mother of a murderer, in that she’s basically prepared to protect her son against anything. 'Cause in a way it's also suggesting that the son is using the mother, as much as the mother is protecting him. ” (Skinner 1992). In its frozen mood, the song sounds as if it would fit on the second page.
Pulsating strings and a staccato-like rhythm characterize "Cloudbusting". The song is about the love between son and father, threatened by external forces. It is based on the book "Book of Dreams" by Peter Reich, the son of the famous psychoanalyst Wilhelm Reich. One of Wilhelm Reich's ideas was a rain machine, the “Cloudbuster”, to which they went together to make rain. The father is arrested, the child is left alone (so we have an opposite constellation to “Mother stands for comfort”). Kate explains it like this: "And the song is really about that adult looking back at the magic of their relationship, how much they loved it and how for him now that his father is not there anymore that every time it rains he thinks about how they were together out there on the machine cloudbusting. And it makes him happy he finds a way with coping with it."(N.N. 1985). The song escalates into a march, almost a funeral march. This reflects the mood, but also illustrates the energy of the rain machine. At the end the sounds of a stopping locomotive, an emergency stop. (Kate Bush said this was a stopgap solution - there was no suitable ending to the song.)
How should one describe the second page “The Ninth Wave”? For me it is a somber suite about death and rebirth. I ask myself questions like “Did the emergency stop at the end of 'Cloudbusting' lead to death? Is this a delirious dream? ". This suite of songs has a surface, they are connected through a continuous story. Let's let Kate Bush speak for herself again: "We're talking about a storm. Someone went overboard in a storm and fought a whole night against the waves, the tiredness and the danger of giving up. For this plot I wrote all the pieces on the second LP side. [...] So someone goes overboard at night. He's getting incredibly tired and wants to give up. Then his past, his present and his future pull past him and try to keep him awake and get him through this night."(Hub 1985)
But what is hidden under this surface that Kate does not want to tell us, what she only suggests? There is also at least one hint from Kate Bush herself: "These are of course also metaphors for a very deep inner experience, after which you come back to light at the other end as a purified person."(Hub 1985)
The dark and deadly attraction of the sea (Thomson 2012, p.261) is evoked. The sea, the symbol of the subconscious. The castaway as a symbol of being lost in oneself. In this suite, the protagonist moves further away from reality from song to song, delving deeper into the unconscious - until she reappears in the last song. "Yes, like a rebirth. First there is the external, physical moment, and then there is a process that takes place in the head, thoughts, journeys to inner spaces."(Hub 1985). The continuous symbol is the light that guides - and for me this light is love. Only love in all its aspects saves from going under.
In “And dream of sheep” the frame of the story is set up: A shipwrecked woman drifts in the sea at night, wearing a life jacket and emergency light, barely conscious. A singing voice like in a dream.They are still trying to reach voices from life, but as if stunned by narcotics they sink deeper and deeper ("like poppies, heavy with seed - They take me deeper and deeper"). The melody also goes down into this depth. Does it only go into unconsciousness or deeper into the sea? Is she drowning?
“Under Ice” begins without a break, suddenly we are in a dark intermediate world. A few tones sound, a dull heartbeat, numbness. This is a dark dream, a memory: skating on thin ice. Thin ice - the deceptively secure layer over the dangerous abysses. Loneliness prevails, only once a very distant voice can be heard. Then the ice shatters, reality shatters. Under the ice there is something - your own self - connected to the sound symbol of the echo sounder. The protagonist is frightened, she recognizes herself in this body under the ice, lost. Reality (the body under the ice) and the protagonist's perspective (above the water surface) begin to separate. At the end another sinking in, the rhythm dies (does the heart die?).
It continues seamlessly with “Waking the witch”. Voices that call to wake up. Voices that want to discourage this journey. The light as a symbol of salvation is conjured up (“Can you not see that little light up there?”). Then the panic of drowning sets in, the voice of the protagonist is torn and chopped up (as if the mouth is filling with water), the melody and the mood become hectic, confused, loud. In delirium, this situation is intertwined with the witch's test - the judge (the devil?) At the gate of death, bells, prayers. The blackbird (blackbird) - a symbol of the soul. Does the protagonist die because she feels guilty? Does she dying for an explanation? Or is this a border crossing? Does Kate feel like a witch? (Is this an ironic reaction to comments on your videos?) “Waking The Witch” means waking the witch - for me it's about awakening the will to live - no matter what the situation is. The judge states “Not guilty! Wake of the witch! ”(But in the witch test you are not guilty if you go down and die).
A fade-out, a pause - only then does “Watching you without me” begin. For me, this break means that we are really in a different world now. The voice is also like after waking up, before the actual song begins. Everything sounds very distant, the music is strange, calm, melodic. The protagonist visits her relatives as a ghost. Communication with the living is no longer possible. Then again torn voices, as in the previous title, as in drowning. There is another layer deeper in death.
“Watching you without me” stands in the middle of “The ninth wave”, separated from the three songs before it and the three songs behind it (which each form seamless units). For me it is the emotional core. Relationships are taken for granted - and their deep meaning and importance can only be seen when it is too late, when communication is no longer possible. This is a very sad song.
"Jig of life" starts again after a break. Irish music from another (this world), memory of the past (music) and future (text). The crossroads of the decision between life and death ("Now is the place where the crossroads meets") has been reached, past and future face each other. The content of the text is the encounter with the possible future, the older self, while the music, with its Irish sounds, tells of the paradise of the past. The future is calling (“let me live girl”), voices try to hold the protagonist, which culminates in a pleading (“never, never, never, never / Let me go”). In vain?
"Hello Earth" begins seamlessly with soft voices like from a spaceship. The protagonist has changed, she is no longer on earth. She is above everything, far from her life. She only watches from afar the storm that is costing her life. She looks at the storm - "murderer of calm" - that destroyed and stirred up the inner calm, that sent her on this journey of fate. That is sung unearthly beautiful. The protagonist sees herself as light in the sky (“And look up at the sky / there's something bright / traveling fast / Look at it go”). Here is a parallel to “The Big Sky”, there is also a view of the sky. There, too, reality is not to be sought on earth: “They look down at the ground, missing”.
The song contains dark passages, borrowed from the soundtrack of the Herzog film "Nosferatu". This film is about eternal life, night, immortality. These voices come after the “look at it go”. It's strange what's in the sky. "What I had in mind weren't so much classical choir voices, but those that had to sound somehow eerie and also a little solemn.“(Hub 1985) At the end just one more memory, as if from afar:“ Why did I go? ”, Then the mysterious chorus from the other world. The music fades. The echo sounder (the symbol for your own self) sounds from the depths, the music sinks. The own ego plunges even deeper, down to death. And then comes the light signal: “Deeper, deeper. Somewhere in the depths there is a light. ”Sung in German, in another language, so strange. Salvation lies deep within oneself, even if one does not understand it and needs a translation first. “Go to sleep little earth” - the farewell is here.
Kate describes this song as follows: "Yes, the piece is the climax of the second page, which has a continuous storyline [..]. It's kind of like a feverish dream, the delirium before the last song comes, which is completely different and is about hope, light and the coming of the morning. Hello Earth is about the point where you get stuck, where you are very weak. And there you may be ready to accept things now that you have reached the end of your journey. The choice is yours: to change or move on and die. Of course, this also has a religious component."(Hub 1985)
"The Morning Fog" begins immediately, loudly, it is like stepping through a gate, an awakening. "The light / Begin to bleed / Begin to breathe / Begin to speak" - the light in the depths has been reached. On the face of it, this is a happy wake-up call, as Kate Bush says herself and all the interpreters join in (e.g. Thomson 2012, p.263). But where does waking up happen? Is it waking up after death in paradise? Is it the happiness of eternal life? The conventional interpretation is the situation after the shipwrecked have been rescued - but nothing of this occurs in either the text or the music. For me, the consistent continuation of the story, which leads ever deeper into death and into the water to light, is more coherent. Reaching the light is the beginning of a new stage, a rebirth, perhaps in a paradise. "The Morning Fog" ends abruptly with a declaration of love - after a rebirth there isn't much more to say.

“The ninth wave” is a path through the dark. “The ninth wave” is a way of the cross, a hero's journey into the unknown and dangerous interior. Only love saves.

Nan Devitt: Interview for “Good Rockin Tonight”, 11/1985
John Diliberto: Interview for “Totally Wired / Songwriter / Keyboard, 6/1985
Andreas Hub: “Kate Bush. Surfaced". Interview with Kate Bush. Trade journal music magazine. 11/1985
N.N .: Night Flight interview, 11/1985
Richard Skinner: Classic Albums interview: Hounds Of Love. Radio 5. Broadcast 01/26/1992
Graeme Thomson: Under the ivy. German translation by Tobias Rothenbücher. 2012. Omnibus Press

Author: Achim, Hannover (aHAJ)



The Dreaming






Sat In Your Lap - There Goes A Tenner - Pull Out The Pin - Suspended In Gaffa - Leave It Open - The Dreaming - Night Of The Swallow - All The Love - Houdini - Get Out Of My House

The Dreaming: Ten Views of Alien Worlds

Writing an analysis of the album “The Dreaming” is a challenge. What else can be written that goes beyond the existing reviews? Beate Meiswinkel, for example, has summarized all the essential points in her wonderful review for this website [1]. So what else? I would like to limit myself to giving information on the development, followed by an attempt to assess and classify. Well - that won't be short anyway.
A good summary of the history of its origins can be found in Graeme Thomson's biography [2]. Kate Bush apparently felt increasingly constrained by the way in which the first three albums were made. Dissatisfaction can also be felt about the way she sang in the past, there were self-doubts. From their point of view, the ability to express the “truth” through the voice has so far been missing [3]: “I think my writing and my voice have continually tried to get better, to be able to do something I actually like. And it's very frustrating when you are writing songs and singing them, and you're not enjoying what's coming back. So hopefully, y’know, it will be become more pleasurable for me, the actual process, because it is painful to listen to things that sound awful, when you really wanted them to sound good. "
A fundamental change was needed, a further development, a turn at a possible dead end: "I couldn't go on forever as the little girl with the 'hee-hee' squeaky voice" [4]. She apparently felt more and more constrained by the fact that she did not have full control over her music, which also changed with this album [3]: “[…] and I think that perhaps the biggest influence on the last album was the fact that I was producing it so I could actually do what I wanted for the first time. "
So Kate Bush was at a critical point in her career from her point of view. Everything had to change.
The collaboration with Peter Gabriel gave an important impetus. Kate Bush was there during the recording sessions for Gabriel's third solo album (she worked as a background singer), in which the characteristic drum sound for "In the air tonight" by Phil Collins was developed. Kate Bush herself gave a few hints [5]: “It's great to hear some really good music coming back. Wasn’t Phil Collins’s In the Air a masterpiece? Well, while I'm trying to organize some tracks to record, I hope you will be having a positive March forward. ". Participation in this process and the insight into the new technical possibilities was an exciting experience for Kate Bush [6]: “Seeing Peter working in the Town House Studio, especially with the engineers he had, it was the nearest thing I'd heard to real guts for a long long time. I mean, I'm not into rhythm boxes - they're very useful to write with but I don't think they're good sounds for a finished record - and that was what was so exciting because the drums had so much power. "
These electrifying experiences quickly led to the collaboration with sound engineer Hugh Padgham, who had helped develop this sound. The first result was the single "Sat in your lap", which later appeared on the album.
The further development of the album seems to have been an agonizing process. Kate Bush herself gives insights in [7] which delicately indicate the problems (the following quotations are from this report). With Hugh Padgham the tracks "Get Out of My House" and "Leave It Open" were recorded. Padgham was involved in other productions ("[...] however, Hugh was too busy to continue [...]"), it continued in the summer of 1981 with Nick Launay ("Houdini", "All the Love", "There Goes a Tenner ”,“ The Dreaming ”and“ Suspended in Gaffa ”). The recordings took place in the studio "The Townhouse" and must have been intense again ("We were working through the warm summer last year, and much dedication was required from all to stay in the studio all day without succumbing to the sun.") . Here, too, time was running out ("[...] we were all sad that Nick was too busy to continue and that the time at The Townhouse had run out."). It continued in the Abbey Road Studios with Haydn Bendall for "Night of the Swallow" and "Pull Out the Pin". Again, the booked time was not enough ("The two tracks are finished and Haydn’s time runs out too [...]"). Now Paul Hardiman joined the team, until Christmas 1981 they worked in the Odyssey Studios. Here, too, there were time problems, the studio was no longer available. In the Advision Studio, the album was finally completed in painstaking detail work ("[...] and the three weeks we were booked to turn into more like three months."). Apparently there was little free time in these three months: “Dave [Taylor] was […] the maintenance engineer, and on quite a few nights, when we went home to bed, he would be up all night twiddling inside machines or trying to figure out why the digital machines weren't working. Every night we ate take-away food, watched the evening news and returned to the dingy little treasure trove to dig for jewels. "
The search for the jewels, for the perfect sound - it must have been a borderline experience for everyone. Kate Bush almost apologizes to her colleagues: “Del Palmer engineered all the demos and every night he would sit up in the cramped little control room, getting different sounds for each track. He sat through hours of harmonies and takes of lead vocals, replying 'I'm not bored'
as many times as there were cups of tea, and nodding 'Yeah, Kate, I think it sounds great! ‘, a phrase to be echoed by Hugh, Haydn, Paul – Bless you all."
This long process was not about the actual composition, this phase was long over. The work prepared the right design [7]: "Now it's all finished, I think of the beginning. Twenty demos, ten of which became the album. In these demos all the moods and sounds were captured, and all the way through the album these demos were referred to. Often the session would stop, we'd dig out the 1/4 inch tape of the track we were working on, and with the original flavor and sounds strong in our heads, the session would begin again. In many ways it would have been interesting to have used the demos as masters, they were so spontaneous. "
Nerve-racking, stressful, struggling with the new techniques, under time pressure, changing companions, depending on external influences, the studio times probably cost huge sums - Kate Bush must have hated it. She does not comment on it. But as a logical consequence, she then built her own home studio and realized freedom in work.
“The Dreaming” is an album in which the composer and singer wants EVERYTHING. It is full of experiments, the mastery of the instruments and the visions meant practically uninterrupted working hours, which went to the substance. Kate Bush described the desired vision as follows [8]: “I want it to be experimental and quite cinematic, if that doesn't sound too arrogant. Never For Ever was slightly cinematic, so I'll just have to go all the way. "Rhythms come more to the fore [9]:" Since drum machines entered my life on the third album, it's never been the same. " Singing moves away from the previously existing sweetness and lightness towards more seriousness, it is deeper and stronger, more earthy. There are even more vocal colors than before, adapted to the content, the voice is always under complete control. "It's almost like watching a girl become a woman." [2]
The album's themes are conflict and claustrophobia, flight and destruction, the fight against obstacles and borders [2]. Self-doubt is addressed in various songs. Kate Bush sums it up like this [3]: "I think the last album is very dark and about pain and negativity, and the way that people treat each other badly. It was a sort of cry really and I think that perhaps the biggest influence on the last album was the fact that I was producing it so I could actually do what I wanted for the first time. And then there are a lot of things we wanted to experiment with and I particulary wanted to play around with my voices, because there are a lot of different backing vocals and things like that. The different textures were important to me. I wanted to try and create pictures with the sounds by using effects. "
Keeping a basic stylistic attitude was important to Kate Bush - moving towards more archaic forms, back to the roots of music [4]: ​​“I wanted it to be a very human, emotional album. I think we've come so far in making music sophisticated that we're almost in danger of losing the roots.That's why I think there's been a return to tribal influences. After all, that's where rock’n’roll came from in the first place. It's a very ethnic album, as well, in many respects. "
Graeme Thomson sums it all up briefly and succinctly [2]: “The impression of barely restrained hysteria in this music is not only due to the dark content of the songs, it also arises from the sheer amount of musical information, from a kind of tonal overload. "
I only share that to a limited extent. Hysteria only appears in a few titles, sonic overload is the exception. The songs are for the most part rich in information and surprising timbres, but they are not overwhelming (maybe that's just getting used to). The struggle with technology is noticeable, experiments and trials are taking place. Sometimes it sounds raw and sometimes it's a bit of an exaggeration. Kate Bush shows what she can do and only succeeds in reducing it to the essentials (the essence) on the next album. “The Dreaming” is wild and unbridled, that's the beauty of it. The possibilities are expanded without restrictions.

The analysis of the album is of course not complete if the songs are not discussed. "The Dreaming" begins with "Sat in your lap“, Which was created before the actual work on the album and as a quite successful single bridged the time between the albums. The echoes of tribal rhythms are particularly clear here (this shows the first influence of the collaboration with Peter Gabriel and the drum sound developed there). The work on this single and the integration of the new sounds was like an initial spark for Kate Bush [8]: “I felt as if my writing needed some kind of shock, and I think I've found one for myself. The single is the start, and I'm trying to be brave about the rest of it. It's almost as if I'm going for commercial-type 'hits' for the whole album. "The last sentence sounds a bit strange if you know the whole album - but who knows what Kate Bush thinks is commercial in her heart ... In this song it is [2] about the realization, it is about the pursuit of spiritual progress. "Is knowledge something innate, instinctive, sexual [...], or can it only be achieved through lifelong searching and striving [...] and possibly fail yourself?" [2]. Here the core topic of the whole album is addressed, that's what Kate Bush tried to answer with this album. It also tells of creative frustration, which probably goes with it. “Sat in your lap” is filled with a driving undertow, wild drums, hectic piano and later hectic wind instruments, something like whip sounds, sounds like from a tribal ritual - restlessness. It's a song without a break. The singing voice is deeper than before, withdrawn, also driven by restlessness. Sometimes there are almost operatic tones. In a completely different tone, interjections, sung high, like comments (“Some say that knowledge is something that you never have”).
There goes a tennerAccording to Thomson [2], “is the easiest track on the album. It's a prancing crime parody, but with a dark subtext. Evidently crooks are plagued by paranoia and give up when the day for the implementation of the planned break-in has come [2]. Thomson asks whether this could also be a comment on their own fears and insecurities in the production of the album. The design has some peculiarities. The protagonist's singing is withdrawn, she sings with a clear accent. There are comic-like interludes (“all my words fade”) and dark, deep, gloomy tones in the chorus (“We‘re waiting”), which sound like a warning from the grave. Caricature and gloom come together in this song - it is a mature echo of the similar “Coffee Homeground” from the album “Lionheart”.
Pull out the pin“Takes up the Vietnam War from the perspective of a Viet Cong. This almost cinematic narrative with its jungle noises brings the horror of war very close, making it tangible with lyrical and musical means. He's a very typical example of how Kate Bush works. An extra-musical inspiration (here a broadcast on television) triggered a storm of associations. This is about something existential, the fight of one against one ("Just one thing in it, me or him. And I love life!"). The "And I love life!" Is shouted out desperately, it is the pure will to survive. This is a strange and dark atmosphere, which towards the end is lost in agony and death behind the helicopter noises - reminiscent of the Vietnam film "Apocalypse now".
Suspended in gaffa“Revolves around the search for fulfillment, but is pervaded by self-doubt and alienation [2]. A fast waltz rhythm (rare in pop music) rushes the deep singing voice through the song, accompanied by high choral voices as accompaniment.
Leave it open“Can really be called a highly experimental song. Thomson thinks it is a disturbing song [2]. For him he sums up the dark message of the album: "Harm is in us". The voices in this song are distorted, strange sound experiments are rolling around everywhere. In addition to the typical “low solo voice / high accompaniment” scheme, male voices are now being added as accompaniment (“Harm is in us but power to arm”). The last chorus, which is a bit long, turns into a final increase, here the song really takes off and takes on drive. Strange voices now supplement the actually positive message “leave it open” with a “Say what we're gonna let in / We let the weirdness in”. This can also be understood as a commentary on the album, which expressly lets in the uncanny and the madness.
The title song "The Dreaming“Was released as a single. It's a rather unusual single, it has nothing to do with the mainstream at all. Kate Bush was inspired for this song by a trip to Australia in 1978 [2]. The song has the fate of the Aborigines on the subject [2], whose land is exploited and who are themselves exposed to the destructive power of alcohol ("devils in a bottle"). A "bone-hard rhythm forms the framework of the song" [2]. There was a collaboration with Rolf Harris, whose song "Sun arise" Kate Bush had raved about, for her still a milestone in world music [2]. This collaboration would then continue over twenty years later with “Aerial”. The whole sound of the song is inspired by Australia, a didgeridoo sounds, animal sounds (sheep?), Everything is like music from a strange world. It reminds me of archaic rites. The singing voice is also strangely accented, as if Kate Bush were singing with an accent (the Aborigines?). There are also almost unearthly passages (“Coming in with the golden light”), distant interjections sound like memories (“See the light ram through the gaps in the land”). It is a torn world that is shown here.
Night of the swallow"Is a groundbreaking piece for Thomson [2]:" Baroque ballad art forms a captivatingly beautiful combination with traditional Celtic instruments. "This new and surprising inclusion of traditional instruments and styles was also taken up by Kate Bush on later albums. She was a pioneer for other artists. What is surprising for me is the seamless transition from “The Dreaming” to this song - here didgeridooks mix with Irish sounds, Australia gives way to Ireland, both songs reflect on tradition. "Night of the swallow" can best be described as a ballad. The mood always reminds me of “Oh england my lionheart” from the album “Lionheart”. There, too, the tradition shimmers through the pop film.
In "All the love“Sophisticated technology meets a very pure, almost classical singing voice [2]. The song laments how difficult it is to express love and to approach others [2]. It ends in a sound collage of different voices that leave their voices on an answering machine - but the protagonist does not answer. The song is calm, melancholy, sad. The discrepancy between one's own demands and the expectations of the world around them are addressed (“They think I'm up to something weird / And up rears the head of fear in me”). A very gentle, high-pitched boy's voice gives hope and encouragement, like a heavenly promise: "We needed you to love us too, we wait for your move". A heavenly appeal? A request? In the mood, this already anticipates something of “Hello Earth” and I also hear a premonition of the pure, crystalline beauty of “Snowflake”. Lines into the future become visible.
A fascinating study of the supernatural [2] is "Houdini