No Subject

[woj@paladin.Owego.NY.US (the best things in life always melt)]

the following interview appears on a picdisc cd. it has no title or 
information about the interviewer (well, interviewers. it turns out
there are really two interviews cleverly strung together), other
than saying that the disc is part of the "conversation disc series."
it was made in england and has the catalog number abcd 012 and on the
back it claims to be a "limited edition full length interview of no
less than 40 minutes not available in any other format." i'm not sure
about the limited edition (supposedly of 2500) or the availability,
but i do know that it is just shy of 33 minutes long. also, as i 
mentioned, there are actually *two* interviews on this disc, both of 
which are from the _hounds of love_ period (neither are the recently 
posted cbak 4011 austrailian interview). the picture on the disc is
a rather nice shot of KaTe at about the time of _hounds of love_. she
looks particularly smashing in a white blouse with the collar up, 
earrings that look suspiciously like silver crabs and a big smile on 
her face.

apologies if these interviews have already been transcribed, but as there
were no respones to my query earlier, i'm assuming that these are either
newly available or just forgotten.

ums and uhs have been edited out... 

---------------------------------------------------------------------

int: many congratulations on the success of the album _hounds of love_ 
     and of course the singles which have also been very successful. how
     are you coping with the success this time around - are you finding
     it alot easier than the "wuthering heights" days?

kt:  yes and no, i mean it's easier cos it's something i've experienced
     before, so i don't have the trauma of going into things that are
     totally unknown, but on the other hand it think it's just as hard
     coming out of such an intense working period which is very private
     now, ie working in the studio on an album, where maybe, we're uhh,
     in the studio constantly for a year, say, and then i come out into
     the whole world of promotion. and it can be just a bit scary i think,
     it's a bit daunting coming form such a private existance to such a 
     public one.

int: is how you cope with the press, because i know you've talked about 
     them in the past and haven't been too happy with the whole situation 
     of promotion.

kt:  i don't, um, i don't really enjoy promoting. it's something that i
     do for my work. i feel that, obviously that when you spend a lot of
     time working on something, it's only right that you come out and 
     let people know that the album's there. i don't feel that ever, 
     hopefully, i'm not promoting myself, but the work. i'm being the 
     saleswoman for the record or the video or whatever it is at the time.

int: cos the press finds it very difficult, i mean, to dig up juicy news
     items on you and they're trying hard all the time. i mean there was
     a rumor that one of the reasons why you've been away from the scene
     for quite a long time is that you've risen to eighteen stone!

kt:  yes...

int: ridiculous, isn't it? how do they come up with these things?

kt:  i think when you don't give people anything they make things up. i 
     think it's very flattering on lots of levels, the fact that people
     are still concerned about writing about me, the fact that they still
     remember me and are hanging on to me. it's very flattering.

int: has it surprised you that you've had this instant success once again? 
     were you at all worried that people might have forgotten about kate 
     bush?

kt:  i think what you worry about is that people don't like what you've
     worked on hard. i mean, again, i don't feel it's me that people are
     responding to directly, it's myself through the expression of music 
     and the work. and i can't tell you how rewarding it is that people 
     do recieve this so warmly.

int: now you came away from school with tenner <?> levels, so does that
     mean you were a very attentative pupil?

kt:  um, i think i've just found the whole system of school something
     that didn't really appeal to me - i couldn't really express myself
     in that whole system.

int: so, presumably, you're favorite lesson was music?

kt:  i did enjoy music and english, but, i just didn't really enjoy school 
     as i got older.

int: why was that?

kt:  it's very hard to say, um, i just...

int: it's very restrictive, wasn't it?

kt:  yes, i think i did find it restrictive.

int: right, so you couldn't get away quick enough?

kt:  well, at that point in my life, i really did want to leave school.

int: dave gilmour of pink floyd fame gave you your big break. how did that
     come about?

kt:  well, i'd been writing, i suppose, since i was about thirteen, 
     seriously. it was my family and my brother john who felt it would be 
     a good idea to see if we could get some of my songs published. and 
     through a friend of the family, we made a contact with dave gilmour, 
     who at that time was scouting for talent to, perhaps, produce or
     encourage. he came down and heard some songs and i think was impressed.
     and basically, eventually, he put up the money for me to go into the 
     studio and make three tracks properly produced and through those tracks
     i got the recording contract.

int: right. now you mentioned your family. did you, have you always had a lot
     of support from them from a very early age?

kt:  yes.

int: was it encouraged the music?

kt:  yes. i think so.

int: cos your dad taught you piano, didn't he?

kt:  he didn't teach me piano, but he was definitely the encouraging force,
     when i was writing at that time. and whenever i'd written a song, i'd
     always go and ask him to come and listen to it. and he was brilliant,
     totally encouraging, and in the right way in that he wasn't pushing
     me into it, which i think, especially for children, is the wrong thing
     to do, cos they rebel against that automatically.

int: something which you did in school at the time?

kt:  i don't know if i was rebellious, but there were certain things i didn't
     enjoy being taught.

int: and what's the kt bush band?

kt:  it was a three piece that consisted of del palmer on bass, brian bath
     on guitar, and vic smith who was our drummer.

int: and where did you tour? around london?

kt:  yes, we did clubs and pubs in the london area. but this, i mean, was
     three months? no, longer than that...

int: so how did you feel about doing that at the time, cos obviously it was 
     the first time you actually played an audience.

kt:  i really enjoyed it. it was just the experience i wanted at that point. 
     i was looking for things that would take me further into where i wanted 
     to go, which was the music business and i'd been training as a dancer 
     and this felt like the perfect stage, really, to go into a live situation.

int: looking back on your debut album, _the kick inside_, how do you
     listen...do you often listen to it now? do you still put it on the 
     turntable at home?

kt:  no, i haven't heard it for years.

int: why's that?

kt:  um, it's old! (spoken the way KaTe said "shut up!" on the vh-1 special)

int: but how do you look on that album now, as a sort of very experimental?

kt:  i think it was probably the least experimental of all the albums.
     i'd written, say, two hundred songs from which we chose the thirteen
     songs that went on that. and it was recorded very quickly, there was
     very little time for experimentation. it was something that had a 
     lot of forethought gone into it.

int: of course you had the big number one single "wuthering heights." to
     people who aren't devout fans of kate bush, you mention your name
     and immmediately they say, "oh wuthering heights," even nowadays.
     does that bother you at all?

kt:  no, i don't think it would be right of me to be rude to a song that
     has done so much for me.

int: how did you feel when it went straight to number one. you must have
     been very take a back.

kt:  yes, very surprised. 

int: and it was sort of always **** i suppose. i mean, it must have encouraged
     you, obviously, to do a lot more. did you immediately set to work on
     the next album?

kt:  it was very difficult, that whole stage because being so new to the whole
     business and starting with such a successful song, it meant, really,
     the next year of my life was nothing but promotion. and i think it was
     quite early on, during that time, that i decided that promotion was 
     something that had to come secondary to the music or i was going to 
     spend my whole life promoting and never ever making another album. so,
     it was a very busy period for me then.

int: what are your main song writing influences? obviously quite a difficult
     one cos you must have many.

kt:  well, yes, that is a very difficult question. subject matter is, it 
     stems from people. either through their expressions in films, books, 
     things that people tell you about, things you witness. musically, i
     think that's a much more obscure area. i mean in a way, it's the music 
     that often will suggest the subject matter, so the music is quite often
     the thing that sparks it all off. and that comes from the air, really.

int: did you ever feel that you may have missed out on other aspects of 
     life that other teenagers may have enjoyed, cos of you rather isolated
     life. you spent a lot of time in the recording studio and promoting
     the next album. did you miss out on a varied social life, for instance?

kt:  no, i think in many ways, it made me meet more people in a way i wanted
     to, more that ever would be possible if i hadn't gone into the business.
     and it's isolated in that you meet certain types of people at the time.
     but, it's continually challenging and i think, probably, i have met more 
     people and had much more experience through what i'm doing now than if 
     i hadn't. there are no regrets.

int: have you ever felt that you were pushed into adult life too quickly?

kt:  no. i think that's something that happens to kids now, uh, much sooner 
     than it did for me. i think it's something that is generally happening
     sooner all the time. kids just grow up quicker now.

int: you never had any worries about getting a job, did you?

kt:  yes, i did. i think when you leave school and you don't know what you're 
     going to do, um, i was very much throwing myself to fate. if it hadn't 
     worked, i would have been in a very difficult situation. and, i just
     worked very hard and hoped that i'd be able to make something of it and 
     i was very lucky.

int: did you ever consider an alternative career?

kt:  i considered it, but it was never anything serious. and that's why i
     felt i had to leave school and just go for it, cos if i didn't make
     an attempt to throw myself into that lifestyle, i didn't feel it was
     something that was going to come to me. it's something you have to go
     out and get.

int: was that partly influenced by your upbringing, by your parents?

kt:  i don't know what it was influenced by. i think it was the very strong
     desire in me that had started when i first started writing at the piano
     that this was what i wanted to do. i didn't want to go to university.
     i didn't want to be in a job where i couldn't be creative.

int: but how did other people react to that? they must have been a bit taken
     a back.

kt:  you mean my family?

int: yeah, your family, in particular.

kt:  yes, i thionk obviously, my parents were very concerned. i was leaving
     school going into something that was completely insecure and i think
     really they had a tremendous amount of faith in me, in that they wanted
     me to be happy. and they understood that i wasn't just spending my time 
     doing nothing. i was very seriously working on a career that could be 
     insecure, but they had a great deal of faith in me.

int: looking back, do you have favorite album?

kt:  i think the last album you do is quite often you favorite one becasue
     that's the one you put the most energy into recently. but, i think the
     fourth album had some very precious moments for me, so i'll say that 
     one for now.

int: _the dreaming_?

kt:  yes.

int: a lot of people would have said that album was rather abstract and,
     possibly, a bit obscure. and it didn't sell in the quantities that
     other had done. did that influence you on your new album?

kt:  very difficult to say. i don't know what influences you between one 
     and the other, except your life, really. you change with the environment
     and my environment did change between the last album and this one: i
     moved out of the city and into the country. and i think those two 
     energies are very apparent on both albums. the fourth album is very
     much an oppressed city atmosphere album and this one just released is
     very much a freer elemental album.

int: did you feel a real need to get out to the country then?

kt:  i was getting fed up with being in london, yeah. i don't know about
     a real need, but i think it's a very good thing for me. i'm glad i
     did. it certainly helped me relax as a person. 

int: did it drain your creative energies, then, being in the town?

kt:  no, i don't think you can say that it drains your creative energies,
     because if anything, and i'm sure a lot of people would agree with
     me, the sense of oppression and energy that you can get from cities
     can be very, very productive to writing songs. but, i found i was 
     getting too many distractions that was stopping me have the time to
     concentrate on my writing. so rather than being productive, it was 
     getting in the way.

int: do you now commune with nature?

kt:  (laughs) i don't know about "commune with nature," but certainly when
     i look out my window and there's trees and fields i feel a lot happier
     than concrete blocks out there.

int: when you see the trees and the fields, do you see a song as well?

kt:  um...no. no, i think it's not quite as basic as that. there's no doubt
     that when you're writing and you look out the window and there is that
     force out there, that it does effect you very differently than if it 
     was a city or by the sea. definitely, your environments do affect you,
     much more than we think.

int: and of course, your working environments too. you've just designed and
     built your own studio. how are you finding that, working in your own 
     studio?

kt:  it's superb. there really couldn't have been better decisions made in
     this time between the last album and this where i've moved and we've
     moved the studio to where we are. there are so many areas where it's
     helped. again, i feel much more relaxed, much freer to work in an
     uninhibited way. i do get quite nervous if you've got people you don't
     know coming in listening. in the london studio, people always coming
     in borrowing pieces of equipment, the phone's always ringing and it's
     costing you a phenomenal amount of money every hour. so, you do feel
     guilty if you experiment, becasue you feel you're just throwing money
     away. at home, obviously, there aren't those pressures at all.

int: cos you've got quite a reputation as a slow worker. 

kt:  yes.

int: why do you feel that need to take everything so slowly?

kt:  i don't think i feel a need to take things slowly at all. in fact, it's
     very, very frustrating for me that things take as long as they do. it's
     never planned. it's just something that takes over once you get into the
     studio. and the songs are there. they really do create their own life
     force and they take over you and they just drag me behind them till 
     they're finished. and, uh, it's strange, cos quite often i wouldn't 
     really want to go in and work on the album - i was tired. but, you just
     sort of go in there, it drags you behind it.

int: have you ever had pressure from a record company to get on with it?

kt:  i don't have that relationship with the record company. i make an
     album and i present it to them and i think if they're happy with the 
     album then our relationship is successful. 

int: you, of course, had the big hit single "running up that hill" taken
     from the _hounds of love_ album. what inspired that song?

kt:  that was the first song i wrote when we moved to the country. i think
     it was, perhaps, an expression of freedom from the things i'd felt
     before. it's very much about love and the power of love. and the
     frustration of misunderstanding within relationships. if a man could
     become a woman and the woman a man, within their relationship, that
     perhaps they'd understand a bit more about each other.

int: and that's the deal with god?

kt:  yes.

int: there's some very complicated dance routines in the video. must have 
     taken a long time to work those out?

kt:  that was a lot of fun. i was working there with diane grey, a
     choreographer, who i met a couple of years ago. it's very exciting 
     working with other people. i think it's especially so when you spend
     such a lot of time, say, in the studio where you're only working with 
     a set group, say two other people. and it was very inspiring working
     with the, uh, choreographer, who's also such a good dancer and we got 
     on well together. we had lots of fun.

int: side two of the _hounds of love_ album is a concept piece called "the
     ninth wave." will you tell us a little bit about that?

kt:  it's about someone who is in the water for the night. alone in the water.
     and it's really about their past, present and future coming to keep them 
     awake to stop them drowning, to stop them going to sleep until the morning
     comes. 

int: it isn't immediately obvious, is it, if you listen to the album?

kt:  no, i don't think so. i don't know if that's relevant or important
     though. i think the most important thing is that people that listen to 
     it get something out of it, that they enjoy it.

int: alright. now, you seem to have a fascination with water. i noticed that
     a couple of your favorite movies, _don't look now_ and _cruel sea_, which
     are very much on a watery theme. so have you a fascination for water?

kt:  yes, yes i do. i think that everyone does really. i think that _cruel
     sea_ was one film that i particularly mentioned though as being a very 
     influential force for this side. so, it would have to do something with 
     water. (chuckles)

int: and also, there's the tennyson poem, isn't it? "the coming of arthur"?

kt:  i think, um, a lot of people tend to presume that the whole side was
     written from that quote and, in fact, that it was completely the other
     way around, where, i just needed a title for the whole piece and there
     was nthing within any of the songs, any of tht titles that was right for
     it. so i juist started looking through some books to try and find a 
     title and found that quote, which seemed to be saying, more or less,
     wehat i wanted to say, so it was used to express the title.

int: and you want to turn the piece into a video?

kt:  yes, it's just an idea. i would very much like to turn it into film.
     i mean for me now, film and video are two very separate visual things.
     but uh...

int: for cinema release?

kt:  yes, ideally. but, it's just something you can talk about at this point.
     i mean really, not until early next year, i wouldn't have time to start
     checking out the feasibility, but it is something i would like to do, 
     but whether it will happen of not, we'll see.

int: alright, you mentioned drowning. have you a phobia of drowning and death?
     i mean, does it worry you in particular, or is it something you just take
     in stride?

kt:  i don't think i have a phobia of water at all. i think it is something 
     we should all be certainly scared of, be respectful of it. but i don't
     think i have a phobia of water. and death i think is something anyone
     who writes would certainly deal with death at some point. i rather like
     woody allen's quote about he doesn't mind dying, but he doesn't want to 
     be there when it happens. (laughing)

int: (laughs) yes. have you any religious beliefs?

kt:  no. not, not ones that i could name. i mean, i do believe in certain...
     i suppose, cause and effect is something that i would believe in a bit,
     but whether they're religious beliefs, i don't know.

int: "cause and effect" - explain that.

kt:  well, i think if you behave i a certain way, then that energy will come
     back to you. the boomerang syndrome.

int: so the more positive one is in their thoughts and actions, the more
     positive life they will lead? and vice versa?

kt:  ah, yes, i would...i think there is a lot in that. i think there's also
     a lot in that if you are positive and can be, even if things around
     you aren't necessarily coming back, at least you cope with them better.

int: so you think there's this sort of powerful force behind it all?

kt:  yes, i think it's actually a survival technique, a self-preservation
     where if you can always keep coming back, keep coming up again, not
     staying down there, then you're going to get a lot more done, you're
     going to be a lot more in control of what's happening than if you're
     depressed, unhappy.

int: you mentioned earlier that one of your favorite movies was _don't look
     now_, which stars donald sutherland. is that the reason you picked him
     for your new video?

kt:  i don't know if it's the reason. i mean _don't look now_ is a totally
     brilliant film and everyone in it was wonderful. but, this was a very
     different piece. and it was quite coincidental, i suppose, that we 
     thought of donald. and i think at that time the only references to
     _don't look now_ that there couldn't have been anyone better and we 
     were so lucky becasue he was our first choice. and through a friend 
     we managed to find a way of contacting him. and um, it was quite 
     incredible really to think that he did it. i still find it hard to believe.

int: he's been quite a fan of your for years, hasn't he?

kt:  um. well, if he was, i certainly didn't know that. i don't, i don't
     think so.

int: alright. one of those pressure quotes again <?>. tell us a bit about 
     the song then, "cloudbusting".

kt:  very much inspired by a book, which i found, must be nine years ago 
     now, on a bookshelf. i just picked it off the shelf and read it. it's
     quite an extrordinary book. it's very sad and moving. and it's written
     by the man, his name is peter reich, about when he was a child, it was
     the relationship between himself as a child and his father. and it's
     written very much through the eyes of the child. so it has an incredible
     sense of innocence and intimacy between him and this great big man
     who's his father and meant everything to him. peter reich's father was
     a very respected psychoanalyst who did a lot of of work. and one thing
     that's mentioned in the book, that's quite aside from his theoretical
     work was that he had a machine that could make it rain. and the two of
     them would go out together and make it rain. this was really where the
     video came in, to explain all this. it really is an extrordinary book
     and everyone that i gave it to to read said it was the saddest book
     they ever read. 

int: there are many people credited on the latest album, _hounds of love_,
     and the credits include terry gilliams of monty python fame. why did
     you give him a mention?

kt:  terry's been a great help in pointing me towards people i could use
     for the videos. i'm a great fan of terry, i think he's a brilliant
     director - i love his films. i think he's more talented than people
     have appreicated yet. he's a really great filmmaker and i think a 
     serious one too. and i just managed to be lucky enough to have made
     contact with him and he's helped me find people that i could work with
     on these last two videos.

int: so you're quite a fan of slapstick and that type of thing?

kt:  no, i'm not a fan of flaps (gets tongue-tied) slapstick! but of doing
     things unusually and brilliantly. i mean i think his sense of composition,
     his sense of photographing things is superb, is brilliant.

int: enjoy "faulty towers?"

kt:  wonderful! i don't think there is anyone who doesn't really. is there?
     have you met anyone who doesn't like it?

int: no - i love it personally. now you've had a great deal of success in
     a relatively short time <seven or eight years?!?> really. so where do
     do you go from here? it must be difficult to know what to do next.

kt:  not at all, i think. trouble is it takes me so long to do things that 
     i've sorta brought up a backlog of not being able to do the things i
     want. so, um, it's, it's enjoyable for me to get the album finished
     and when this promotional work is finished, thst means i can launch 
     into the next project. i think i'd alwasy like to be able to make 
     albums, that's something that is very iportant to me, making music.
     and apart from that, i think it's experimentation from now on really.

int: do you ever see a day when you might retire?

kt:  no, not yet (laughs).

int: not for a few years yet? (chuckling)

kt:  well i hope so - don't write me off yet!

int: do you see yourself in a little cottage on the countryside eventually?

kt:  yes, i'd like to be in a little cottage in the countryside now, i think!
     i don't think you have to retire to do that. just makes travelling into
     london a bit longer.

int: have any plans for a family?

kt:  no, again, not yet. my work takes up all my time.

int: is that altogether a healthy thing, you think?

kt:  i don't know if it's healthy. but, it's certainly very enjoyable. i
     get a tremendous amount of satisfaction out of actually feeling that
     i've achieved something. like finishing an album. or finishing a video.
     because it's always so hard when you're stuck in the middle of a 
     project and sometimes you're neversure if you're going to be able to 
     finish it, so to actually reach that point, that relief when the thing
     is over, it's incredibly rewarding!

int: particularly when it's a big success.

kt:  (laughingly) yes, particularly.

int: thanks kate.

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well, that's the first part. KaTe sounds pretty relaxed throughout the 
whole thing. if anyone can identify the interviewer (who, although some-
times presumptuous, isn't too bad of a guy), i'd be happy to hear who
it is. the total length of that interview is about 23 and a half minutes.

the second interview is as follows. this time, the interviewer is bit
stifled or stiff. even more interesting is that there is surface noise
during KaTe's speaking parts while there is none during the interviewer's,
leading me to wonder if this was one of those "canned interviews" that
radio stations sometimes get (i know of one with the cowboy junkies that
came with a script and timings, so you could "interview" them on the air
with you asking the questions). also, the relative length of the questions
and responses made me think more and more that this one was canned. 

i wasn't able to find her words though in any interviews that i had around 
the house, so i figured i'd type it in anyways.

it's just under nine minutes long.

----------------------------------------------------------------------------

int: where do you get the ideas for the imagery in your music and videos?

kt:  i think most of my imagery comes from films. but, initially, it all
     comes from people. films are really the expression of the director, 
     the actors, the people who make the music. i think that definitely, 
     it's the stories and the situations that people are in that are the
     bigget inspirations. i have some very interesting stories told by
     friends of things that have happened to them or people they know.
     and books, of course, are another very obvious inspiration for def-
     initely some of my songs.

int: what types of books and authors do you like reading?

kt:  i don't think i'm obviously well-read. i think that's something that's,
     perhaps, presumed. i get very little time to read, it's something that
     i feel quite guilty about cos i'm a very slow reader and if i'm sitting
     down reading a book i feel i should be doing something else that's 
     more important. i do get time to read in the car, but i don't really
     read like i would like to and my favorite kind of books, i would say
     generally are fiction.

int: when did you start thinking about writing and recording _hounds of love_?

kt:  it has been a big gap between this album and the last one. i hit the 
     end of '82 having finished the promotion for the last album and really
     wanted to take a break. when you work so intensely on an album when 
     when you're in the studio for a year really constantly, you want to 
     spend some time at home, see your friends. so i did this, taking in 
     new stimulus realy at the same time for the new album, so the material
     would be different and interesting hopefully and would not be the same
     same energy as the last album, but would be something fresh and inter-
     esting. i started working with a new dance teacher and spent a lot of
     time equipping and building a recording studio which we've recorded all
     the material for the album in. this was very much encouraged by my father
     who thought it would be a good move and i do think that it's one of the
     best decisions that i've made. it make the whole process so much easier.
     i do actually write the songs now in the recording studio, so right form
     the word go, i'm writing onto master tape. i suppose the ideas were
     actually forming on tape, so i actually started writing the album at the
     very end of '83 and '84 was spent recording and finishing the writing.
     and it was finished this year.

int: do you enjoy writing?

kt:  i do very much enjoy writing the songs. for me, more and more so, the
     whole recording production process is all part of the writing. as soon
     as the song's gone onto tape, i'm writing - what i'm doing is actually
     writing it onto tape, so the production, the arrangements, the lyrics,
     everything are part of that for me. i think it would feel like i was
     fulfilling the whole process now if i wasn't involved in these areas.

int: what kind of satisfaction do you feel when the production of the album is 
     finished?

kt:  i think the obvious kind of personal satisfaction i do feel when the 
     album is finished is pure relief. that's a good feeling, to feel that
     you've actually accomplished it and finished it and hopefully, it 
     wouldn't be finished if it wasn't something that you felt was worthwhile
     going out in some form or another.

int: what was the idea behind the _hounds of love_?

kt:  the idea for "hounds of love", the title track are very much to do with
     love itself and people being afraid of it, the idea of wanting to run
     away from love, not to let love catch them, and trap them, in case the
     hounds might want to tear them to pieces. it's very much using the imagery
     of love as something coming to get you and you've got to run away from it
     or you won't survive.

int: tell us about "running up that hill".

kt:  "runing up that hill" was one of the first songs that i wrote for the
     album. it was very nice for me that it was the first single released,
     i always hoped that it would be the way. it's very much about a rela-
     tionship between a man and a woman who are deeply in love and they're
     so concerned that things could go wrong - they have great insecurity,
     great fear of the relationship itself. it's really saying if there's
     a possibility of being able to swap places with each other that they'd
     understand how the other one felt, that when they were saying things
     that weren't meant to hurt, that they weren't meant sincerely, that
     they were just misunderstood. in some ways, i suppose the basic diff-
     erence between men and women, wher if we could swap places in a rela-
     tionship, we'd understand each other better, but this, of course, is 
     all theoretical anyway.

int: and what about "cloudbusting"?

kt:  "cloudbusting" is a track that was very much inspired by a book called
     _a book of dreams_. this book is written through a child's eyes, looking
     at his father and how much his father means to him in his world - he's
     everything. his father has a machine that can make it rain, amongst many
     other things, and there's a wonderful sense of magic as he and his father
     make it rain together on this machine. the book is full of imagery of an
     innocent child and yet it's being written by a sad adult, which gives it
     a strange kind of personal intimacy and magic that is quite extrordinary.
     the song is really about how much tha father meant to the son and how
     much he misses him now he's gone.

int: do you plan a tour, maybe a "hounds of love tour"?

kt:  i really ernjoyed touring. i've only done the one tour way back, now,
     in '79. and the problem really was getting enough new material to do
     another tour initially. getting enough material took me to the last 
     album. the third and fourth album would be the two albums of new 
     material that i would've toured. but at the end of the last album, it
     didn't feel like the right moment to take a tour around europe. so,
     that's still a possibility for the furture, but that's nothing that i
     can commit myself to. i just would like to continue saying that i would
     like to tour, but i've no idea when and i do hope that i get to do
     another one before i'm old and grey.

int: how important is video to you?

kt:  i think video has become something a little out of proportion at the
     moment in that it's being wuite exploited. everyone has to do a video
     now if they've got a single coming out so there's an awful lot of 
     stuff around. therefore, like everything, when there's a lot of it,
     there's a lot of rubbish. i think there's some very good stuff happening
     and when it's good, i think it can be quite effective. i think the
     general badness of things gives video quite an unfair name in that in can
     be quite a creative form of art. i think it's a shame how it can
     influence things too much as well, perhaps it's a distracting influence
     sometimes from the song. i feel that in an industry that's a music in-
     dustry that the music should come first rather than the video. it 
     would be wrong if this got out of proportion and people were being
     signed cos they looked good on video rather than actually being musically
     worthy, so let's hope that the priorities stay right.

int: what are your ultimate goals?

kt:  i don't think i have any achievement wishes really. i'm continuously
     saying to myself how lucky i am to be doing what i am. i'm happy working
     in my music which is what i've always wanted. in a way, there's more
     than that in that i have all the areas that are attached to the music
     like the visual enterprises. i just hope that i will be able to keep
     doing that. that's really my wishes.

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hmmm....maybe he just reinserted his questions afterwards. i don't know.

if anyone is interested in a copy of these interviews, email me and i'll see
what i can do for you.

woj