The December _Pulse!_ magazine

[ed@das.llnl.gov (Edward Suranyi)]

Here's all the stuff from the December issue of _Pulse!_ magazine,
which as I've mentioned before is the in-store magazine of Tower
Records in America.  It's a large, thick, nicely printed magazine.

The cover is an absolutely gorgeous picture of Kate.  She's got her
eyes closed, and her head is leaning back.  She's resting her chin
on her right hand.  My only (minor) quibble is that she's wearing short
hair, like on the album cover.

Everybody who has access to a Tower Records should pick this up.  Those
who don't should try to get in contact with someone who does.  The
magazine is free, so we can pick up as many copies as we like!

On the cover, it says: 

KATE BUSH
A Joycean Odyssey
through _The Sensual World_

Before I get to the interview, I'd like to mention the other times Kate is
mentioned in this issue.  In J.B. Griffith's "Spins" column, he lists
_TSW_ as one of the Ten Best of 1989.  Even more amazing, Brett Milano
lists _The Dreaming_ as one of the ten best rock/pop albums of the
decade!  He says, "Those other-worldly shrieks in 'Suspended in Gaffa'
still bring chills."

A short article on The Innocence Mission once again compares them with
Kate.

The album is listed at number four on the chainwide bestsellers list.

So here's the interview:

A SLOWLY BLOOMING ENGLISH ROSE
by Will Johnson

Kate Bush may take her sweet time making records, but _The Sensual World_,
her debut for Columbia, was very much worth the wait.

     The location: a sumptuous old world hotel in central London.  The
reception area is filled with antique grandfather clocks, a vintage
leather sofa and a collection of oil paintings -- all very English.
Portly, rosy-cheeked gentlemen slink droopily into the diners' lounge
for what must be the week's 15th business "lunch" -- lots of coughing
fits and spluttering noises permeate this part of the building.  It's
nearly half an hour after our arranged meeting time, and no sign of the
reclusive Kate Bush.  Perhaps we weren't supposed to meet here at all
-- perhaps the interview was set up for a hedgerow in deepest Kent, or
up a tree in the remote Scottish Highlands.
     A black cab pulls up outside the foyer, and out steps an attractive
brunette wearing a dark velvet ball gown.  It must be her, but no.  The
woman is immediately followed by a young tyke whose nose is running
profusely.
     Two minutes later, a slightly out-of-breath, petite woman rushes
through the swiveling hotel entrance, effusing all due sweetness and
offering her most profound apologies for her belated appearance.  She'd
been shopping at Tower Records, Piccadilly, where her friend, violin
wizard Nigel Kennedy, was signing copies of his new LP, Vivaldi's _Four
Seasons_.  Kate Bush clings to a signed copy; written on the sleeve is,
roughly translated, "What the hell are you doing here, Kate?  Love and
hugs, Nigel, xxx."
     Her attire is fairly ordinary.  One might expect Bush to arrive
wearing some sort of peculiar Oriental dress, but instead she's 
sporting faded jeans, pale blue high-heeled boots and a patterned knit
pullover of the kind Princess Di always wears when she's watching her
husband fall off horses at polo matches.  Her dark hair falls well past
her shoulders and has a slightly reddish, henna-ed look.  She's virtually
make-up free -- she has what you might call a certain natural hominess.
She nips to the bar for a glass of orange juice; we then adjourn to a
small, secluded room appropriately named The Pump Room.
     _The Sensual World_ is Bush's first LP (and her debut for Columbia
in the States; she remains on EMI for the rest of the world) since the
_Hounds of Love_ some four years ago.  That album was her most
commercially successful to date -- it charted Top 30 in the U.S., as 
did a single from _Hounds_, "Running Up That Hill."  Between those two
albums, EMI released a compilation, _The Whole Story_, and the "Experiment
IV" single of '86.  Bush has been quiet in the meantime -- never 
pursuing publicity, never courting the public eye.  It looked at the time
like her hermit tendencies had completely taken over and she'd decided
to pack the whole thing in, preferring retirement somewhere in England's
green and pleasant land, a life dedicated to saving the chickens from
extinction in Bedfordshire.
     But _The Sensual World_ shows Kate Bush at her best.  Innovative,
novel, unique, but above all *different* -- she possesses a talent 
impossible to pigeonhole, a mystery very hard to solve.  The title track
commences to the sound of church bells, followed by those breathy,
childlike Kate Bush vocals:  "Mmh yes, Then I'd taken the kiss of
seedcake back from his mouth/Going deep South, go down, mmh, yes/Took
six big wheels and rolled our bodies/Off of Howth Head and into the flesh,
mmh, yes/He said I was a flower of the mountain, yes/But now I've powers
o'er a woman's body -- yes."
     Once again, Bush's lyrics manage to caress those old erogenous zones;
they sensually combine art with eroticism.  The idea for the song came
from Molly Bloom's snaking soliloquy (which fundamantally concerned sex
and lust) at the end of James Joyce's epic "Ulysses."
     "The original piece, right, was just the most beautiful piece of
writing I've ever read," she enthuses in a soft voice slightly colored
by a South London drawl.  "It's like this never-ending sentence, this
long train of thought, and the only thing that punctuates it is the word
'yes' and it very gradually accelerates.  I just thought it was just one
of the most sensual pieces ever written.  When I came to write this album,
I suddenly remembered this writing, and the original lyrics were from the
book.  I just picked it up and all the words fitted perfectly to the
music.  I couldn't believe that the two things would just come together.
     "But when I applied for permission to use the words I was refused,
so I was *extremely* disappointed," Bush continues.  "Then I had to 
rewrite the words trying to keep the same sense of sound, but obviously
I'm not James Joyce, so it was a question of keeping the same shape and
creating a new story.  So it gradually turned into Molly Bloom stepping
out of her speech in the book and into the real world.  In the book she's
a very sensual woman, and it was the idea of her stepping out of this 
black-and-white world into the real world and being hit by the power of
the sensuality of the world, the environment, the elements."
     "And at first with the charm around him, mmh, yes/He loosened it so
if it slipped between my breasts/He'd rescue it, mmh, yes/And the spark
took life in my hand and, mmh, yes/But not yet, mmh, yes/Mmh, yes."
     "A lot of people have said it's sexy," she continues.  "That's fine,
that's nice.  The original piece was sexy, too; it had an incredible 
sensuality which I'd like to think this track has as well.  I suppose it
is walking the thin line a bit, but it's about the sensuality of the world
and how it is so incredibly pleasurable to our senses if we open up to it.
You know, just simple things, like sitting in the sun, just contact with
nature.  It's like, for most people, their holidays are the only time they
get a real burst of the planet!"
     The title track contains the usual Celtic influences that
characterize so much of Bush's work, with an Irish contingent of Davey 
Spillane blowing the uillean pipes, Donal Lunny twanging away on the 
bouzouki and John Sheehan on the fiddle.  Bush's elder brother Paddy
is on whips.  But what's her approach to songwriting -- each LP seems
to be taking longer to produce, each more sophisticated as a result?
     "You see," she says, "the thing is, I always want to do something
different from the last record, and in some ways it's a question of 
putting space before the last project before you can even start.  After
the last album I just wanted to spend some time and just come down to 
earth again.  I suppose this record took about two years in total to make;
we took lots of breaks in between so the project actually felt like it had
been going on longer, even though it's not been intense work.  I found
it very difficult to write some of the songs on the album -- some were
very quick, but others were long and painful.  I always find lyrics very
hard, anyway, and the whole thing was very much a layering process,
just sort of putting in all the different elements, putting the
jigsaw together.  It's not by choice it took so long; it's never fun
being involved in a project that long, but I just couldn't do it any
quicker.  It's something that happens in phases, where you get times 
when nothing's happening -- and that's a good time to take a break, or
else you're continually working on lyrics and stuff and you get a 
breakthrough.  You might write a song and it comes very quickly, and
you've maybe got lyrics and melodies for, say, another two, so you get
musicians in and build on those tracks.  Then you let them sit for a bit 
and go off and do something else.  I think it's useful that you do 10
or 11 tracks on an album, so you can keep dotting round, so, even though
you always end up getting sick of hearing them, you can at least keep
diverting."
     As her career progressed, Bush has gradually been able to gain
more control over her music and output.  Two things have been important
here:  firstly, the acquisition of her own recording studio somewhere
in darkest Kent (southeast England), and secondly, the cementing of her
relationship with longterm boyfriend/bassist/engineer Del Palmer.
     "Having the sort of creative freedom that I've now got," she
explains, "having my own studio, taking the time to make albums, not
putting something out 'cause there's pressure to, working very closely
with Del as engineer, I just felt incredibly lucky to be in this kind of
situation.  It's a real privilege and I'd hate to abuse that.  I think that
the problem with writing songs is that you want to care about what you're
doing, and sometimes the stuff you come up with is just so banal, you
just have to really wipe through it.  Get rid of all the shit, do you
know what I mean? [laughs].  _Hounds of Love_ was very much the main 
step, 'cause that was the first time we had our own studio, and I suppose
the progression from that one to this is that we've upgraded the
equipment.  Also, on the last album, I was working with lots of different
engineers who could only give me a certain amount of time, because they'd
block-booked to someone else, and because I work so experimentally, I 
didn't want to block-book too far ahead or I wouldn't be ready for them.
Working with Del, I've managed to get a bit closer again to the whole
process.  You know, if it's not working, then we can just go home.  If I
have an engineer in, it would be difficult to have that freedom and also
to feel relaxed; there's a lot of time spent getting to know each other."
     _The Sensual World_ LP features 10 new Bush tracks, all written and
produced by the enigmatic songstress, recorded by Del Palmer and mixed by
Kevin Killen, whose most recent credits include Elvis Costello's _Spike_.
("Walking Straight Down the Middle," [sic] an atmospheric tale of the 
reluctance of human beings to face up to their fears that features some
truly shrilling vocals by Bush, is only available on cassette and CD.)
The first single, "Love and Anger," is probably the meatiest track on the
LP.  Throughout there's an African beat, the sound of Zulus raiding at
dawn, interspersed by some slumbering fretless bass lines (courtesy of
Eberhard Weber), and a "big" chorus orchestrated by the power chords of
Pink Floyd alumnus Dave Gilmour and Bush bellowing as best she can.  It
took her a mere 18 months to piece together.
     On "Heads We're Dancing," Bush warns the female of the alluring male:
"They say that the devil is a charming man/And just like you I bet he can
dance . . . A picture of you, a picture of you in uniform. . . . Hot down
to the floor/But it couldn't be you/It couldn't be you/It's a picture of
Hitler."
     But it's the overall feeling of sensuality, of Bush's concept of the
being and its relationship with the outside world, that underscores the 
entire album.  In particular, it's the way in which the child comes to
realize and experience his or her environment.  The solo violin of the
aforementioned Nigel Kennedy is accompanied by cello, Celtic harp,
whistles, the mysterious Dr. Bush, and Kate's manic witch-like laughter
on the eerie, "The Fog":  "The day I learned to swim/He said, 'Just put
your feet down child' . . . . The water is only waist high/I'll let go
of you gently/Then you can swim wiht me." [sic]
     On "Reaching Out," the tinkling of the ivories is followed by these
vocal utterances:  "See how the child reaches out instinctively/To feel
how fire will feel."
     "Deeper Understanding" features features the first of three vocal
performances from the wailing Trio Bulgarka.  The idea behind the song
was to contrast the ancient music of Bulgaria wiht the way people relate
in modern society to the computer chip.  "It's like today, a lot of people
relate to machines, not to human beings," Bush explains, "like they hear a
telephone [makes ringing noise] and think, 'Is that for me?'  I guess it's
playing with the idea of how people get more and more isolated from humans
and spend a lot more time with machines.  I suppose America's a really 
good example where there are some people who never go out, they watch
television all day, they're surrounded by machines, they shop through
television, they speak to people on the phone; it's just distant contact.
The idea of the computer buffs who end up going through divorce cases
because their wives can't cope with the attention the computer gets.
They have an obsessive effect on people, and this track's about one of
those types."
     "But I was lonely, I was lost/Without my little black box/I pick up
the phone and go Execute. . . . I turn to my computer like a friend/I need
deeper understanding."
     "I was playing with the juxtaposition of high tech and spirituality,"
she continues.  "I suppose one inspiration was a program I saw last year
about a scientist called Stephen Hawkins who for years had been studying
the universe, and his concepts are like the closest we've ever come to
understanding the answer.  [Note:  The man's name is Hawking.  I've seen
it misspelled this way in several interviews, so I'm unfortunately 
beginning to wonder if this is Kate's error, and not the interviewers'.
Any comments? -- Ed.]  But unfortunately he has a wasting-away disease,
and the only way he can talk is through voice process.  It was one of the
most moving things I've ever heard.  He was so close to the answers to
everything, and yet his body was going on him -- in some ways it was the
closest I'd ever come to hearing God speak!  The things he was saying were
so spiritual, it was like he'd gone straight through science and come out
the other end.  It was like he'd gone beyond words, and I do think that
there is this possibility with computers that we really could learn about
ourselves on levels that could take us into much deeper areas.  With my
music, I like  to combine both the old and the new, the high tech and the
compassion from the human element, the combination of synths and acoustic
instruments."
  
     Kate Bush was born on July 30th, 1958 in the suburban town of Bexley,
Kent, just on the outskirts of southeast London, into a musical family
which soon cast its spell over the young girl.
     "When I was really little", she reminisces, "most of the music that
influenced me was my family's.  I've got two older brothers who went
through a long phase of being into traditional music, English and Irish
in particular, so it's always been played in the house.  My mother's
Irish and she always had relatives popping around, the vast majority
of whom were superb musicians.  They'd come around and play accordions
and things."  Her father was a keen pianist, and although she began taking
violin lessons, she was only nine years old when she'd decided to take up
piano and songwriting.  In her early teens, she started listening to more
contemporary sounds.
     "I remember the early Roxy Music albums", she swoons.  "It was like
'Ah!  This is *my* music, this is what I want to be associated with.'
Such wonderful songwriting, very English as well, not American style, and,
of course Bryan Ferry's voice.  I suppose another one of my biggest heroes
as a kid was Elton John, because, at that time, I used to mess about on
the piano and sing.  Most of the female artists and male
singer/songwriters played guitar; they didn't play the piano and write and
sing like Elton did.  He was just my hero, he's a fantastic piano player,
a great performer.  These people make a big impression on you."
     Before leaving school she'd signed a recording deal with EMI as a
result of a three-track demo that was organized and financed by Pink Floyd
guitarist Dave Gilmour, who also plays on the completely off-the-wire
"Rocket's Tail," as well as "Love and Anger."  Gilmour saw something in
Bush he just knew was special.
     Her debut LP, _The Kick Inside_, was compiled in mid '77, and
espoused such risque lyrics as "Oh I need it oh oh feel it feel it my
love."  It sold over a million copies in the UK alone.  But for many,
the first sighting of Bush was in January '78 wiht her theatrical, musical
and visual interpretation of Emily Bronte's "Wuthering Heights," a single
that shot to number one on the U.K. charts like a breath of the freshest
air on the Yorkshire moors.  It was a time when punk had lost its spikes,
Travolta had slipped in "Grease" and new wave needed a perm.  She had
written such a mature piece as "Wuthering Heights" at the young age of
15. [Note:  I'm not sure this is right.  Any comments? -- Ed.]  The
_Lionheart_ album from December '80 [Note:  I *know* this isn't right.
_Lionheart_ is from the end of '78.] included such treats as the haunting
"Man With the Child in His Eyes" [how many errors can this guy squeeze
into one paragraph?] and the elasticated "Wow."  During this period only
the dazzling peroxide talents of Debbie (nee Deborah) Harry adorned the
walls of more British adolescent boys' bedroom walls.  Bush has never been
one for the limelight, though ask her about being some sort of sex symbol
(you have to be subtle about it as well) and her response is coy:  "I
don't know, really," she shrugs.  "I'm just small and ridiculous!  How 
people see me is up to them, it's not my problem.  People only perceive
an image, not the reality."
     She's genuinely bemused that one of her appeals, initially, at least,
was a certain physical allure.  Anyone who's seen clips of Bush's only
live shows ever played in the spring of '79 can't help but be stimulated
by her inimitable stage performance -- a visual spectacular of music,
dance, mime and sorcery.  The whole experience of releasing records 
quickly and keeping pace with the related promotion work eventually wore
her down.  The '80s would see Bush slow her pace.
     "The problem with my live work," she admits, "was that I had to 
expose myself in public so much, whereas now I can concentrate on just 
doing videos for my work.  What I really like about videos is that I'm
working with film.  It gives me a chance to get in there and learn about
making films, and it's tremendously useful for me, because one day I might
like to make films myself."
     Bush's videos, which she codirects, are easily as vibrant as her
vinyl work.  In the video for "The Sensual World," Bush stars as a 
black-and-white Molly Bloom touching that oh-so-black-and-white sensual
world. [What?  The video is in full color!]  Her own favorite is 
"Cloudbursting" [sic], in which she stars with Donald Sutherland.
     In '80, her third album, _Never Forever_, included tracks like
"Babooshka" and "Breathing."  The latter concerned itself with the 
nuclear age and how man insists on screwing up the environment.  In the 
video Bush appeared inside a large bubble, predicting the era of the
ozone friendly consensus, lamenting:  "Outside gets inside, through
the skin," followed by the slow chant:  "In, Out, In, Out, In, Out."
     "I think it's really good, the fact that it's so fashionable now,"
says Bush.  "Everyone's pleased 'cause everyone's wanted to do something
about it, come out of the closet as it were.  Unfortunately it's like most
things -- it's not until things start going horribly wrong that you try to
do something about it.  I think the media's got a lot to do with it,
people like David Attenborough (renowned filmer of wildlife, best-known
for his strange antics with gorillas, and brother of well-known film
producer Sir Richard) 'cause they present things in a human way.  There's
no lecturing, there's no saying, 'Look, you're very, very naughty treating
the earth like this,' but saying, 'Look at all these beautiful things.'
The photography is so superior, it just moves people.  I mean, years ago,
people would not stay in to watch a wildlife program, would they?"
     Since 1982's _The Dreaming_ LP ("the album was so difficult to make,
just about everything that could go wrong did during that period"), Bush
has been more determined to do things her way -- especially in image
terms, to get away from her marketing image of "The Tease."  She's 
become progressively quieter; you won't find her sipping Tequila and
Cherryade at Stringfellows, or whooping it up in a rubber mini at
The Hippodrome, or lobbing french fries around Langan's Brasserie.  It's
just not her idea of fun.
     "I do like the quiet life," she replies almost bashfully.  "I do
like having privacy; it's incredibly important to me, because I do end
up feeling quite probed by the public side of what I have to do.  I'm
just quite a private person, really.  You just end up feeling quite
exposed; it's this vulnerability.  After I've done the salesman bit,
I like to be quiet and retreat, because that's where I write from.  I'm
a sort of quiet little person."
     Which my explain why it's taken so long for this idiosyncratic yet
compelling artist to break in the States.  "Yes," she says perkily, "I've
really had no success in America at all, apart from the _Hounds of Love_
LP.  That did quite well, and it was really exciting to think that there
were people out there wanting it.  But I've never seen it in terms of you
make and album and then conquer the world.  I must say it's never really 
worried me that I've not been big in America, but I'm with a new record 
company over there now, and I really feel good about the people -- they're
lovely to talk to and to deal with.  It's quite exciting for me.  I just
hope people out there will have the chance to know that the album's out.
Then, if people want to hear it, they can.  If they don't, well, that's
absolutely fine.
     "You know," she continues, "what I like about America is that there's
a tremendous sort of hyper energy that I really like.  Especially in New
York -- there's a much stronger social setup, especially between artists.
It's a very isolated setup here, because London's so spread out and 
everybody's off doing their own thing.  You don't seem to bump into people
the way you do over there; it's exciting to have that interchanging of
ideas, just to talk to people who're going through similar things.  It's
real modern energy stuff.  And also, I really like the positivity of
the Americans.  I mean here, although I love being here and I love the 
English, we're very hard on one another, very critical, whilst they have
a wonderful willingness to give everyone a chance.  We're really hard on
people trying to get off the ground -- it's really unfair."
     [If Kate likes America so much, why on earth doesn't she *come*
here?]
     One of the most engaging characteristics of Bush's persona is that 
she's so much the epitome of The English Rose, the natural beauty with
innate intelligence -- a woman who just doesn't have to try.  On _The
Sensual World_, she feels that it's the Bulgarian influence -- three
aging ladies named The Trio Bulgarka -- that add what she calls "a very
interesting female aspect" to the LP, complementing Bush's own very
feminine touch.  The Trio's music was introduced to her by brother Paddy,
and, as a result, she ventured over to Sofia, Bulgaria to meet the
threesome.  The Trio has an intensity about their voices, a deep
expression of womanly pain and suffering, that hit a chord with Bush:
"They were so important for me," she relates, "both musically and 
personally.  I got a tremendous amount out of them as people, and a very
important musical influence."
     The release of _The Sensual World_ ushers in a few changes for Bush:
a new record label, a growing profile in America, and a realization that 
there's life outside the recording studio.  "Something that really hit me
on this album a bit like a hammer," she says, almost embarrassed, "is that
I didn't really have any hobbies, and all I did was work, and everything
that had been my hobby had sort of turned into work, like dancing, even
reading -- in a way, because your're continually drawing from things that
happen to you.
     "But recently," she adds, "things like gardening have now entered my
life, which is wonderful.  I've never had a garden before, just very 
down-to-earth things like that.  Again, it's just having a bit of contact
with nature, you know, and planting things and seeing the slowness of it
all.  I've planted a flower bed; you have to be very patient.  And it's a
good thing for me to work with, ' cause making an album, you have to be
very patient, and this flower bed helped me, *tremendously*, to watch how
things have to fight for space:  You have to get the weeds out, a little
bit of water everyday, everyday a little something.  Odd things like that,
really!"
     So Kate Bush is not really *odd*, she's more like her flower bed,
pretty and down-to-earth.  And with hope she'll keep watering and weeding
her own creativity so we won't have to wait too long for the next trip
into her sensual world.




Ed (Edward Suranyi)        | Caption:  "Kate Bush goes from cult fave to
Dept. of Applied Science   |        chart rave."  -- _Billboard_
UC Davis/Livermore         |   (In "Was It A Hit Or A Miss" in the 1985
ed@das.llnl.gov            |          year-end special issue.)