JOHN CAMERONÕS MUSICOLOGY
Episode X: Kate Bush (87 Ð 94)


The Sensual World
This WomanÕs Work, The Sensual World/ Flower of The Mountain,
Rockets Tail, Deeper Understanding, 
HeadÕs WeÕre Dancing, Never Be Mine
The Red Shoes
Rubberband Girl, Moments of Pleasure,
Eat The Music, Lily, Why Should I Love You
Top of The City



Introduction
Kate Bush is as much an indisputable enigma, as she is a musical genius. Having showcased her unique voice and bewitching choreography from her first two albums, her most innovative work would take place during the eighties, on the albums ÒNever for EverÓ, ÒThe DreamingÓ and her best-selling ÒHounds of LoveÓ in 1985, on these, her co-producing would be more heavily involved.
With the advent of drum machines and the revolutionary Fairlight CMI digital synthesizer, her eclectic compositions could be realized, matching that of her lyrics, concepts and vocals. Even when utilizing real instruments, such as incorporating digeridoos, mandolins and uilleann pipes, the results were equally as enchanting. A menagerie of sonic diversity.
The gaps between her albums were getting progressively longer. While the chart success and singles of ÒHounds of LoveÓ would continue into mid-1986, and a duet with Peter Gabriel would be released in October, fans would have to wait until 1989 before receiving a full album, which would be ÒThe Sensual WorldÓ. After that, another four years would pass until the release of ÒThe Red ShoesÓ.
WhatÕs remarkable about these two albums, is that in 2011, selections from each would be rerecorded and reconfigured into ÒDirectors CutÓ, a cohesive album, which easily stands on its own, not replacing the source material. ItÕs impossible the focus on the late eighties to early nineties period, without making reference to their modern versions.

This WomanÕs Work
In early 1987, Kate was sent a workprint of the upcoming John Hughes romantic comedy film, ÒSheÕs Having a BabyÓ, with the intent of contributing a song, for a specific scene.
ÒThis WomanÕs WorkÓ is such a significant piece in BushÕs discography. It touches on universal emotions and regrets, even though Kate has been clear that itÕs makings were inspired purely from the film. When neo-soul artist Maxwell would cover it years later (to greater chart success) it would have another life, reaching more diverse communities and touching more people. With all that considered, it amazing to think that it came from a place of just scoring a scene.
This speaks to KateÕs incredible ability to write for the characters manifested in her mind or someone else's. Even years later, when she would radically alter the composition and performance of her vocals, herself, as herself were as removed as when she first wrote those powerful lyrics.
The song was complete almost a year before the film would be released and despite its feature on the filmÕs soundtrack, it would have its place on her next project that following year. The sessions for which, would continue on from this period...

The Sensual World/ Flower of The Mountain
Inspired by Siobhan McKennaÕs reciting ÒSoliloquy of Molly BloomÓ, from James JoyceÕs book, ÒUlysesÓ, Kate set out to match the latter part of the twenty-nine minute monologue to music.
For further context, the focused-character in the piece, ÒMolly BloomÓ is embarking on an affair to spite her husband. ÒUlysesÓ is written in a multitude of different styles throughout itÕs chapters, but this final piece would reflect an internal monologue, over eight lengthy paragraphs with minimal punctuation.
Bush wanted to transpose many of its last lines into a song, accentuating its raw expression of sexuality.
No gaining approval meant the revamp would reflect more sensuality of what's around us. An experience uncharted for any book character, formerly limited by the environments and possibilities of the those they were once trapped in, now exploring ÒThe Sensual WorldÓ.
The music itself is almost unidentifiable as a genre. The main hook of the instrumentals is inspired from a traditional Macedonian piece, known as ÒNevestinsko OroÓ (Aka: ÒBride's DanceÓ), which on this track, a similar composition would be recited on Irish uilleann pipes.
Constantly frustrated at EMIÕs lacking quality control, to make KateÕs music sound good during the mastering stage, the 12Ó vinyl acetate would be double grooved. If the needle moved in on one open groove, the album verion would play. If it entered another, the instrumental version would. She didnÕt tell the record company, who couldn't tell the pressing plant. Confusion ensured. The results of BushÕs test would be rectified with a company-sanctioned sticker on every copy, clarifying the records contents.
Her original vision would finally see fruition in 2011Õs ÒDirectors CutÓ album, having then received permission from JoyceÕs Estate. This, would be retitled ÒFlower of the MountainÓ.
With its lyrics realized, itÕs composition would be slightly extended and stripped back, removing snares and toms, while accentuating itÕs previously subdued bassline. Through its more natural sound, this is the sensuality its original described.

Rockets Tail
Kate BushÕs sound would be forever evolving, she was never afraid to try new styles or genres. The most apparent on ÒThis Sensual WorldÓ would be the contributions of Bulgarian vocal ensemble, ÒTrio BulgarkaÓ.
With KateÕs insatiable curiosity, her genre-pushing endeavors would be auspicious. ÒTrio BulgarkaÕsÓ background vocals would feature on three songs for this album and three on the next. While her compositions were profoundly forward-thinking, her lyrics were very much in-the-moment.
Pink FloydÕs David Gilmour, who is essentially responsible for showcasing Kate Bush to the world, would contribute his guitar for several short, screeching solos.

Deeper Understanding
Kate BushÕs work has always touched on aspects of life and society less explored by other singers. But one track on ÒThis Sensual WorldÓ would border on being prophetic.
Remember, this song is from 1989, possibly written with in the years before. At this point, roughly 15% of households in the United Kingdom and United States owned a computer, even less with internet access. Even among futurists and modern philosophers, the notion of computer addiction was rarely an issue explored. This song, released thirty years ago, is predictive of a more common problem today.
Bush would realize her initial vision for the song in its later form, having her son Bertie rerecord the computer section, replacing her own vocoded vocals.

HeadÕs WeÕre Dancing
While many of KateÕs songs are written as characters, she like any other conventional songwriter would still take from real life experiences to form narratives. Even though ÒThis Sensual WorldÓ is an album about love (or those you know the most), ÒHeadÕs WeÕre DancingÓ would touch upon more sinister acquaintances.
Knowing the backstory to this track gives an otherwise interpretive set of lyrics more vivid imagery, with its sneakily odious nature. It makes an otherwise skippable song into something to analyze. The parallels between her poetry and its inspiration are an interesting confluence to analyze Ð whether music or sociologically based.
This, like ÒRocketÕs TailÓ would not be rerecorded for ÒDirectorÕs CutÓ, but they are both significant numbers to the final sum. Exercises in composition and lyrics, which were still clearly maturing, even this far into her career.

Never Be Mine
ÒNever Be MineÓ is underrated. ItÕs perhaps the most universally emotive track on the album (and that is acknowledging the frequent strong themes of love in a broader context). Upon the albumÕs release, she said, ÒIt's that whole thing of how, in some situations, it's the dream you want, not the real thing. It was pursuing a conscious realization that a person is really enjoying the fantasy and aware it won't become reality. So often you think it's the end you want, but this is actually looking at the process that will never get you there. Bit of a heart-game you play with yourself.Ó
Descriptions of failure is not an uncommon theme in music, but acknowledging our delusion in fantasy when itÕs occurring is rarely touched on.
The track is clearly significant to Kate. While it would be yet another rerecording for ÒDirectors CutÓ, it would also be considered for her 2014 concert residency, ÒBefore The DawnÓ. It didnÕt make it into the show itself, but she did mix a rehearsal recording in with the live album that resulted. This would be the only track featured from ÒThis Sensual WorldÓ considered for her first concerts in thirty-five years.
It doesnÕt matter who you are or what youÕve accomplished. Some of your dreams will never be realized. Knowing when to start and when to stop is the first step in prioritizing your aspirations.

Surmise
Breaking away from the tied-together narratives of her last album, ÒThe Sensual WorldÓ is a series of ten individual stories that remain engrossing with each listen. Her subtle incorporation of different genres and collaborators ensured a noted musical progression in catalogue, along with the lyrical complexities that make all of her albums an adventure to analyze.
Aside from the revamp of ÒThis Womans WorkÓ, the other three tracks that would later feature on ÒDirector CutÓ wouldn't deviate too far from their originals. This seems to suggest a level of satisfaction on KateÕs part, at least in comparison to the project that followed.

The Red Shoes (Album)
The time between Kat Bush albums would continue to grow. Her next album release would occur four years after ÒThe Sensual WorldÓ, although there were plentiful b-sides and non-albums track for fans to savor during that time.
The next full album, inspired by her favorite film, ÒThe Red ShoesÓ would be released in November 1993. A lot had happened in her life during the years since the previous album. Her long relationship between her and engineer Del Palmer had ceased, although they would still continue to work together. Her mother had passed away a year before the albumÕs release. And she had lost others under a multitude of tragic circumstances. These sessions would show clear reflection of her feelings and accumulated relationships over the years. Bush once reflected, ÒI canÕt think of a song of mine that isnÕt a character, they are all written in characterÓ. For much of ÒThe Red ShoesÓ, it seems like that character is Kate Bush herself.
Another big change would be the sound. Having not performed a live show since 1979, she would ensure that the sound of ÒThe Red ShoesÓ would be something more replicable in a live setting, as that was the intention post-release.

Rubberband Girl
A prime example of this new band-sounding arrangement would be the lead single, ÒRubberband GirlÓ.
ItÕs quite the album opener. Its production is full, borderline funk, with a searing rock vocal, something Kate was suited for. But itÕs also indicative that this wasnÕt the same Kate we had heard on ÒThe Sensual WorldÓ or ÒHounds of LoveÓ or ÒThe DreamingÓ...
While the single would peak at number twelve on the UK Singles Chart, it would also see some success in the United States... But for different reasons.
ÒRubberband Girl (US Mix)Ó is significantly different. While the vocals are clearer, which is a treat in itself, the mostly-new instrumental strips any eclectic charm Kate Bush had built up since the beginning of her career. ItÕs almost remarkable that this was allowed to happen. While certainly not essential, the US Mix is a certain oddity in the Kate Bush catalogue, not resembling any production before or since. This version would be produced by DJ Eric Kupper.
With that collaboration firmly in the past, when it came to rerecord the track for ÒDirectors CutÓ eighteen years later, the result arguably also couldnÕt compare to the original. ItÕs repetitive nature and Rolling Stones-styled productions just doesnÕt cut through the originals bombastic and bouncy arrangement.
As Kate would later reflect, ÒThe original Rubberband Girl was... Well, itÕs a fun trackÓ.

Moments of Pleasure
But ÒThe Red ShoesÓ would have so much more to offer...
A song of reminiscent sadness, but as much celebration, ÒMoments of PleasureÓ would be the third single released from the album. While certainly song with a sentiment that anyone can relate to, its specific references are what makes it interesting. The veracity of these connected stories are questionable, but they are an attempt to polish all facets of this beautiful gem.
While there are many speculations about ÒGeorge, the wipeÓ a prominent theory is that during a 1981 session for her ÒThe DreamingÓ album, a tape op, named George, somehow managed to wiped (or destroy) a tape for a song she had just recorded. This has never been confirmed officially, but if true, the song would suggest she took it with good humor.
Alan Murphey was a guitarist that had collaborated with Kate on her last four albums and was also part of her band in the late 70s. He passed away in 1989, having been weakened by Aids and catching pneumonia at the age of 35.
While he does receive a more direct reference towards the end of the song, this next section is postulated to be about him as well. Pictures of a young Douglas Fairbanks and Alan Murphy seem to bare a resemblance.
Bush continues the rollcall of important people in her life, past and present. Maureen, her aunt. Garry Hurst (Aka ÒBubbaÓ), a collaborating dancer. ÒSÕMurphÓ, another reference to Alan Murphey. John Barret (Aka ÒTeddyÓ), and engineer on her early 80Õs albums. Michael Powel, director of KateÕs favorite film, ÒThe Red ShoesÓ. Bill Duffield, lighting director for BushÕs first concert tour, during which, he suffered an injury while setting up the show. He died shortly after.
The 2010 version would be a complete rerecording, with no string accompaniment. Just Kate and her more matured vocal, along with some additional background vocals to add more complexity to the sparse instrumental. The chorus from the original would also be removed, with the intent of removing conventional song structure and making the lyrics a more succinct narrative.

Eat The Music
ÒThe Red ShoesÓ would certainly offer some new classics in the Bush catalogue, while maintaining KateÕs usual quirkiness.
Although ÒRubberband GirlÓ was the lead single in the rest of the world, for the ÓUnited StatesÓ, their first introduction to the new album would be ÒEat The MusicÓ. And itÕs indisputably a strange one.
While itÕs Madagascan sway and peculiar lyrics with fruit metaphors somehow relating to making a man show his love more has a certain element of charm. But for many, the song itself is regarded as a low point on the album.
For those that do enjoy it, the single would offer and extended mix, lasting nine minutes and twenty seconds. Unfortunately, it doesnÕt offer an fruit metaphors that arenÕt present on the album cut, but it does take the instrumental through a series of breakdowns and build ups.
For those that would prefer less, a radio edit is also available. ÒEat The MusicÓ would not be remade for ÒDirectors CutÓ.

Lily
Perhaps the most glaring example of excellence overshadowed by dated production, is ÒLilyÓ. Inspired by friend and spiritual healer Lily Cornfield, who opens the song with a Gayatri Mantra variation, the songÕs heavy bassline and immersive guitar and synth mix, is severely let down by a thin-sounding drums.
BushÕs dramatic vocal performance is, as always engaging, along with guest vocalist Micha Paris, but the ÒDirectorÕs CutÓ version would arguably be a significant improvement. The vocal would be just a great as the original, despite dropped a semitone, and the rhythm section with its new drums would be accentuated, as the reverb on the rest of the instruments would be minimized.
Even with such a perfect amendment made to the track, the definitive version is undoubtedly the live ÒBefore The DawnÓ performance. 
Based off of the 2011 rerecording, the recital packs more energy than the other two combined. Every part of the song is appropriately metered, with the entirely live vocal performances from both Kate and her handful of background singers maintaining downright perfection.
Despite its lacking initial recognition and delivery, Kate transformed it into an amazing production, worthy of opening her live comeback residency, to collective acclaim.

Why Should I Love You
Production for the album had occurred not too long after the release of ÒThe Sensual WorldÓ, one of the first songs written for the album would be the passioned ÒWhy Should I Love YouÓ. The track radiates BushÕs style Ð a touch of eccentric instrumentation with a vocal that goes from a soothing rendition of poetry to a frenzied performance without notice or jarring the listener.
ItÕs sound is very similar to the album that came before, which may be why she sought after a collaboration, to steer it into a new direction. In 1990, Kate Bush saw Prince perform during his ÒNude TourÓ, where the two met backstage. Both hugely admired each other's work, and Kate invited Prince to perform background vocals on her newly recorded song. Prince accepted; Kate organized the tapes be sent to his Paisley Park Studio in Minneapolis that following year.
Prince recorded his background vocals. And guitar. And bass. And keyboards.
Kate and her engineer received an almost completely revamped songs, not quite knowing what to do with it for two years. The final mix would be a pretty even combination of both PrinceÕs and the early version, with a few edits and additions, such as further background vocals by comedian Lenny Henry.

Top of The City
Another song that would receive a stunning update to its original, in both its 2011 and live versions would be ÒTop of The CityÓ. Progressively with each revision.
Like many others, the benefit comes from the newly refined rhythm section and, especially in the live performance, KateÕs incredible vocals, delivering her consistently vivid lyrics.
While ÒThe Red ShoesÓ marked for many a low point in her catalogue, what has become evident, especially with ÒDirectors CutÓ is the amount of potential these songs had, marred by the production of the time. ItÕs also a testament to Kate Bush as an artist, capable of acting out songs, written two decades earlier, delivering an arguably superior performance.
While ÒThe Sensual WorldÓ and ÒThe Red ShoesÓ may not harbor the enchantment of her albums in the seventies or the innovation during the eighties, they do maintain a consistent quality of songwriting and composition, with enough of Kate BushÕs uniqueness to satisfy anyone in the pursuit for an amazing catalogue.